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VIRGIL  AND  RONSARD 


BY 

WALTER  HENRY  STORER 

A.  B.  University  of  Illinois,  1919 
A.  M.  University  of  Illinois,  1920 


THESIS 

SUBMITTED  IN  PARTIAL  FULFILLMENT  OF  THE  REQUIREMENTS 
FOR  THE  DEGREE  OF  DOCTOR  OF  PHILOSOPHY  IN 
ROMANCE  LANGUAGES  IN  THE  GRADUATE 
SCHOOL  OF  THE  UNIVERSITY 
OF  ILLINOIS,  1922 


URBANA,  ILLINOIS 


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UNIVERSITY  OF  ILLINOIS 


THE  GRADUATE  SCHOOL 


May  SS  .192. 2 


I HEREBY  RECOMMEND  THAT  THE  THESIS  PREPARED  UNDER  MY 
ON  BY  Walter  Henry  Storer  

, VIRGIL  AND  RONSARD 


BE  ACCEPTED  AS  FULFILLING  THIS  PART  OF  THE  REQUIREMENTS  FOR 
I HE  DEGREE  QF-^oetor  Of  PLil0  30phy 


Head  of  Department 


Recommendation  concurred  in* 


Committee 


on 


Final  Examination* 


Required  for  doctor’s  degree  but  not  for  master's 


Digitized  by  the  Internet  Archive 

in  2015 


https://archive.org/details/virgilronsardOOstor 


CONTENTS 


Page 

Foreword  II 

Part  I.  Virgil's  Place  in  the  Life  of  Ronsard  1 

A.  Ronsard' s Knowledge  of  Virgil  2 

B.  Ronsard' s Desire  to  Imitate  Virgil  6 

Part  II.  Imitation  26 

A.  Poems  Published  before  or  during  the  year  1550  27 

B.  Odes  Published  after  1550  49 

C.  Amours . Elegies.  Booages.  Poemes . Discours. 

Eoitaohes . Hvnnes . Traductions  en  Vers  57 

D.  The  Eclogues  80 

E.  The  Franoiade  93 

F.  Reminiscences  97 

(I)  Classical  Allusions  98 

(II)  Phases  of  Love  105 

(ill)  The  Muses  and  the  Writing  of  Poetry  108 

(IV)  Time  and  Seasons  109 

(V)  Omens  and  Predictions  Ill 

(VI)  The  Golden  Age  112 

(VII)  Other  Pastoral  Ideas  and  Expressions  113 

(VIII)  Figures  115 

(IX)  Miscellan  sous  119 

Part  III . Conclusion  125 

Bibliography  139 

Vita  144 


FOREWORD 


The  1919  edition  of  Roneard’s  works  by  M.  Paul  Laumonier 
has  been  used  for  the  Ronsard  texts,  because  it  is  at  present  the 
best  complete  edition.  The  modern  letters,  however,  are  used  for 
&,  i - consonant,  and  other  peculiarities  of  sixteenth  century 
printing.  At  times  reference  is  also  given  to  the  older  but  less 
scholarly  edition  of  Prosper  Blancheraain. 

For  the  sake  of  brevity  the  following  abbreviations  have 
been  deemed  advisable: 

Aen. . the  Aeneid  of  Virgil. 

Bl.,  Blanchemain’ s edition  of  Ronsard’ s works. 

Ec. . the  Eclogues  of  Virgil. 

Geor. . the  Georgies  of  Virgil. 

Lau.,  Laumonier’ 8 edition  of  Ronsard ’s  works. 

Rev,  de  la  Ren. , Revue  de  la  Renaissance. 

Rev.  d’Hist.  litt. , Revue  de  1 ’histoire  litt^raire  de  la 

France. 

I wish  to  express  ray  thanks  to  the  members  of  the  Depart- 
ments of  Romance  Languages  and  of  the  Classics  at  the  University  of 
Illinois  for  the  instruction  I have  received  from  them.  In  particu- 
lar ray  thanks  are  due  Professor  Kenneth  McKenzie  and  Professor  David 
H.  Carnahan  for  their  suggestions  in  regard  to  the  subject  of  this 
dissertation  and  for  their  kind  assistance  in  the  preparation  of  the 
work.  I have  also  received  much  assistance  from  the  librarian  of  the 
Modern  Language  Seminar,  Miss  Amelia  Krieg. 


PART  I 


1. 


VIRGIL'S  PLACE  IN  THE  LIFE  OF  RONSARD 


As  late  as  1694  ]^ile  Faguet  makes  the  statement  that 
Ronsard  did  not  imitate  Virgil  to  any  extent  except  in  the 
Franc iade  and  in  a description  of  Orpheus  in  the  Bocage  royal 
More  recent  investigation,  however,  has  shown  this  idea  to  be 
incorrect.  M.  Paul  Laumonier,  the  great  Ronsardist  scholar  of 
today,  has  pointed  out  many  Virgilian  passages  in  his  edition  of 
1914-1919  of  the  complete  works  of  Ronsard,  and  M.  Pierre  de 
Nolhac  in  his  latest  work  pronounces  Virgil  the  chief  Latin  master 
of  Ronsard.^  In  1887  Paul  Lange  discussed  very  carefully  the  re- 
lationehip  of  the  Franc  lade  ajid  the  Aeneid.  but  no  one  has  as  yet 


^Etudes  litteralres  - Seizieme  Siecle  p.  239:  ^"Virgile  n’est  pas  | 
le  podte  que  Ronsard  imite  le  plus.  6n  peut  meme  dire  qu'en  de-  i 
hors  de  la  Franc iade.  et  d* Qrphee  (dans  le  Bocage  roval) . il  i 

1' imite  peu.  A peine  on  trouverait  9a  et  Ik  quelques  courts  I 

souvenirs  ; mais  ces  traces  sont  assez  rares."  j 

I 

%onsard  et  1 * human! sme.  p.  37:  "Parmi  ses  maltres  latins,  Vir- 

gile  tient  une  place  k part,  la  plus  haute,  cells  du  'premier  ' 

capltaine  des  Muses',  comme  il  se  plaira  a I'appeler.  II  I'a  su  | 
par  coeur  dhe  son  enfance,  il  I'a  pratique  touts  sa  vie  et^au  | 

moment  ou  s'est  ebauch4  le  plan  de  la  Franc iade,  ce  sont  'les 
Aeneides'  qu'il  a choisies  pour  ses  modeles." 

^t)ber  Ronsarts  Franc iade  und  ihr  Verbal tn is  zu  Vergils  Aneide. 

ffurzen,  1887.  Gandar * s Ronsard  consider^  comme  imitateur 
d* Homer e et  de  Pindare  (Metz,  1854)  also  touches  upon  this  point. 

As  early  as  1553  Marc  Antoine  de  Muret  wrote  a commentary  on  an 
edition  of  the  Amour s . He  was  followed  by  Remy  Belleau  in  1560, 
Nicolas  Richelet  in  several  works,  and  Pierre  de  Maroassus  in 
1823,  but  none  of  these,  except  the  last  (Cf.  Lau.VII,312)  is  im- 
portant in  a study  of  Ronsard  and  Virgil.  After  1630  very  little 
attention  was  paid  to  Ronsard  until  the  time  of  Sainte-Beuve. 


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made  a complete  study  of  all  the  points  of  likeness  in  the 
authors  of  these  two  epics.  It  has,  therefore, seemed  to  the 
writer  of  the  present  essay  that  such  a study  would  have  a cer- 
tain value. 


RONSARD'S  KNOWLEDGE  OF  VIRGIL 


It  is  probable  that  Ronsard's  first  knowledge  of  Virgil 
came  from  his  father  or  uncle  both  of  whom  were  scholars.  The 
former  was  a poet  and  admirer  of  Virgil;^  the  uncle, Jean  de 
Ronsard®  seems  to  have  been  the  tutor®,  mentioned  by  Ronsard's 

7 

biographer,  Binet,  who  began  to  instruct  his  nephew  when  the  lat- 
ter was  but  five  or  six  years  old.  He  naturally  taught  Pierre 
the  indispensable  Latin  and  very  probably  started  him  to  study 


^Cf.  Laumonier  in  Revue  de  la  Renaissance.  1901,  Vol.I,  p.  102. 

®In  his  funeral  oration  for  Ronsard  (Paris,  1584,  fol.l2),  Jac- 
ques Velliard  speaks  of  the  influence  of  the  uncle  and  of  his 
library,  which  was  bequeathed  to  Ronsard.  Of.  Nolhac,  Ronsard 
et  1 'humanisms . p.  11. 

g 

In  his  edition  of  the  Vie  de  Ronsard.  p.70,  Laumonier  suggests 
Guy  Peccate  as  the  tutor,  but  Longnon's  argument  in  his  Pierre 
de  Ronsard.  p.  127,  note  1^ in  favor  of  Jean  do  Ronsard  seems 
stronger,  because  the  year  (1535)  of  Jean's  death  coincides  with 
Ronsard's  tenth  year. 

*^Binet  says  that  the  tutor  was  kept  until  Ronsard  was  nine  (Ed. 
of  Lau.,  pp.  4-5) . The  original  text  of  Binet 's  Vie  de  Ronsard 
appeared  in  1586.  Two  augmented  editions  were  published  during 
Binet 's  lifetime  in  1587  and  1597. 


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Virgil^.  When  he  was  nine,  the  poet  attended  the  college  of 
Navarre  and  without  doubt  gained  some  knov/ledge  of  Virgil  there. 

At  any  rate  we  have  his  own  words  as  proof  that  he  not  only  read 
Virgil  at  an  early  age,  taut  knew  him  by  heart: 

"II  ne  faut  s ' esmerveiller,  si  j'estime  Virgile  plus  ex- 
cellent et  plus  rond,  plus  serr6,  et  plus  parfaict  que  tous  les 
autres,  soit  que  des  ma  jjeunesse  mon  Regent  me  le  lieoit  a 
I’escole,  soit  que  depuie  je  me  sois  fait  une  Id4e  de  see  concep- 
tions en  mon  esprit  (portant  tous jours  son  livre  en  la  main)  ou 
soit  que  I’ayant  appris  par  coeur  des  mon  enfance,  je  ne  le 

o 

puisse  outalier." 

stay 

Soon  after  his  a in  the  college  Ronsard^in  1536  became 
a page  of  the  Dauphin  Francois,  and  when  this  prince  suddenly 
died  he  entered  the  service  of  Charles,  Duke  of  Orleans,  the  -third 
son  of  the  king.  The  next  year  he  went  to  Scotland  as  page  to 
Madeleine  of  France,  who  had  married  the  Scottish  king.  He  re- 
mained there  for  over  two  years,  and  on  his  return  to  France  re- 
entered the  service  of  the  Duke  of  Orleans.  It  was  sometime  dur- 
ing this  period  that  he  became  associated  with  the  all-important 


0 

Cf.  Laumonier  in  the  Revue  de  la  Renaissance.  1901,  Vol,  I,  p. 
170:^  "Tout  ce  qu'on  peut  dire,^c*est  qu'en  allant  a neuf  ans  au 
College  de  Navarre,  il  aurait  du  savoir  assez  de  latin  pour 
traduire  Virgile  comme  les  camarades  de  son  age  (oe  qui  n'avait  j 
rien  de  prodigieux  pour  I’epoque)." 

®Lau.,  VII,  83,  preface  of  the  Franciade  of  1587,  which,  althos^  it 
appeared  after  his  death  may  be  considered  his  own,  as  Binet  ^ed. 
of  Lau.,p.  50)  explains:  "II  nous  a laisse  un  Discours  en  prose 
sur  le  Poeme  Heroique,  assez  mal  en  ordre  (addition  de  1597:  pour 
1 'avoir  dicte  a quelque  ignorant  qui  escrivoit  souhz  luy,  qu'il 
m'envoya)^  et  que  j'ay  rerais  a peu  pres  selon  son  intention." 

Cf.  Lau.,  VIII,  134.  Ronsard  elsewhere  recommends  the  ’Memoriza- 
tion of  "bonspoetes"  as  far  as  possible(  Lau.,  VII,  46). 




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4 


Seigneur  Paul,^^  mentioned  by  Binet  and  Colletet^^  in  their  bio- 
graphies and  by  Du  Perron^^  and  Velliard^^  in  the  funeral  ora-  ' 

tions  delivered  at  the  services  held  at  Boncourt  in  honor  of  the 
poet  several  months  after  his  death.  Seigneur  Paul  was  the  man  j 
who  inspired  in  Ronsard  his  first  pronounced  love  of  literature 
in  general  and  of  Virgil  and  Horace  in  particular; 

I 

"Et  ce  qui  luy  augmenta  ce  desir  fuu  un  Gentil-homme 
Piemontois  nomme  le  seigneur  Paul,  frere  de  Madame  Philippes,  qui 


fut  mere  de  Madame  de  Chastelleraut , lequel  avoit  este  page  avec 
Ronsard,  et  ne  laissoit  de  banter  I'Escurie  du  Roy,  qui  estoit 
lore  une  escole  de  tous  honnestes  et  vertueux  exercises,  comma 
aussi  faisoit  Ronsard,  or  que  tous  deux  fussent  sortis  de  page. 
Ce  Gentil-homme  avoit  fort  bien  estudie  les  Poetes  Latins,  et 


^^There  has  been  much  discussion  as  to  the  identity  of  "Seigneur 
Paul",  and  the  exact  time  that  he  became  acquainted  with  Ronsard. 
Nolhac  (op. Pit. ,p .9)  thinks  that  he  was  Claudio  Ouchi,  but  it  is 
rather  the  time  of  his  acquaintance  with  Ronsard  that  is  important 
to  this  discussion.  It  is  practically  certain  that  he  lived  with 
Ronsard  at  the  Escurie  of  Francis  I both  before  and  after  the 
journey  to  Scotland  and  very  probably  accompanied  him  on  that 
journey.  Cf,  Lau. , Rev.de  la  Ren.  1901, p.  186,  Note;  Nolhac,  p.9, 
Ronsard  himself  says  only  "des  mon  enfance  j'ai  tousjours  estime 
1‘estude  des  bonnes  lettres."  Lau-,  VII,  4. 

^^Guillaume  Colletet  (1598-1659),  vdio  wrote  the  lives  of  many  of 
the  early  French  poets. 

^^Cardinal  Jacques  Davy  Du  Perron  (1556-1618) . The  text  of  his 
oration  may  bo  found  in  B1.,VIII,  179  ff. 

^3jacques  Volliard,  P.  Ronsardi  ....  laudatio  funebris;  Paris, 
Buon,  1586.  Seigneur  Paul  is  described  fol.  12;  "Cum  studia 
humanitatis  coleret  et  haberet  aures  tritas  notandis  generibus 
poetarum,  seorexam  Virgilii  et  Horatii  intelligentia  praestabat." 


5. 


mosmes,  lore  qu'il  estoit  page,  avolt  ausei  souvent  un  Virgile 
en  la  main  qu’une  baguette,  interpretant  aucunefois  a Ronsard 

_ , 14 

quelques  beaux  traits  de  oe  grand  Poete,".... 

I 

"Or  ce  fut  la  (in  Scotland)  premiereraent  qu'il  commenca 
a prendre  goust  a la  poesie.  Gar  un  gentil-homme  escossois, 
nomme  le  seigneur  Paul,  tres-bon  poete  latin,  se  plaisoit  a luy 
lire  tous  les  jours  quelque  chose  de  Virgile  ou  d 'Horace,  le  luy 
interpretant  en  francois,  ou  en  escossois;  et  luy,  qui  avoit  ' 

desja  jette  lesjyeux  sur  les  rymes  de  nos  anciens  autheurs,  s'effor-' 
coit  do  le  mettre  en  vers  le  mieux  qu'il  luy  estoit  possible. 

In  1540  Ronsard  made  journeys  to  Flanders,  Zeeland,  Scot-  | 
land  and  Germany  for  the  Duke  of  Orleans.  It  was  after  the  jour- 
ney to  Germany  that  his  sudden  deafness  made  him  desirous  of  giv- 
ing  up  court  life  and  of  devoting  himself  entirely  to  study  and 
writing.  However,  ho  spent  the  years  1540-1543  partly  at  court 
and  partly  on  his  father's  estate,  la  Possoniere.  At  the  latter 
place  he  could  enjoy  the  nature  he  so  greatly  loved  and  could 
wander  in  the  woods  and  along  the  banks  of  streams  dreaming  of  be- 
coming a Virgil  or  a Horace.  Without  doubt  the  Loir  and  the 
Braye  became  the  Mincius  and  the  Anio  to  him  and  awakened  his 
poetic  fancies.  Soon  after  the  death  of  his  father  (1544),  who 
had  opposed  his  desires  to  become  a poet,  because  a poet's  profes— 

14 

Ed.  of  Lau.,  pp.  9-10,  of  Binet's  Vie  de  Ronsard.  In  the  1587 
edition  Binet  adds,  "il  prit  si  prand  appetit  que  depuis  il  no  fut 
jamais  sans  un  Virgile,  jusques  a I'aprendre  enticrement  par  coeur 

15du  Perron,  Bl.,  VIII,  186-187. 

Lau.,  JLQunesse  de  Ronsard  in  Rev.de  la  Ren..  Vol.II.  1902. 

13  ^ y R ...  ■ ' ^ 


•a 


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SSEaaw^ 


6. 


17 

Sion  was  not  lucrative  enough,  Ronsard  went  to  study  with  Balf 
under  the  famous  Dorat.  In  1547,  when  Dorat  became  professor  at 
the  College  de  Coqueret,  Ronsard  and  Balf  accompanied  him  to  the 
school  and  there  they  were  joined  by  Du  Bellay.  Althou^  Dorat 
was  primarily  a Hellenist,  he  also  admired  Virgil  and  Horace,  and 
his  students^ knowledge  of  these  two  authors  was  furthered  along 
with  that  of  Homer  and  Pindar.  Virgil  especially  received  atten- 
tion since  he  is  such  an  admirable  example  of  imitation  from 
Creek  models. 

Under  the  inspiration  of  Dorat 's  classic  instruction  and 
assisted  by  Ronsard,  Du  Bel lay  published  in  1549  his  famous 
"Defense  et  Illustration  de  la  langue  franco iee” , which  is  an 
appeal  to  imitate  the  ancients  in  French. 

RONSARD 'S  DESIRE  TO  IMITATE  VIRGIL 
Ronsard’ 8 desire  to  imitate  Virgil,  of  course,  dates 
long  before  the  publication  of  the  doctrine  of  his  school.  He 
may  have  dreamed  of  writing  a French  Aeneid  whenjas  a page^he 
atudied  Virgil  with  Seigneur  Paul.  Certainly  after  his  meeting 
with  Jacques  Peletier^®  in  1543  such  a desire  must  have  been  ex- 

Antoine  de  Balf  was  the  son  of  the  ambassador, Lazar e de  Balf, 
whom  Ronsard  had  known  from  the  age  of  sixteen  and  whose  scholarly 
attainments  were  influential  in  the  formation  of  Ronsard’ s mind, 

^^Jacques  Peletier  (1517-1583)  was  influential  in  causing  Ronsard 
to  abandon  entirely  his  efforts  at  Latin  poetry,  and  encouraged 
him  in  the  study  of  Greek.  He  himself  might  have  been  the  leader 
of  the  Pleiade  if  he  had  not  been  such  a devoted  scholar.  He  is 
generally  considered  as  having  become  a member  of  the  Pleiade 
about  1555,  the  date  of  hie  Art  poetique  franyois. 


j'Asy  .rigycnt?  «ivi^<e.Ti;^^4.  jo*'i  aiw  noia 

uJL  It t; e ’’.^ Of?o  juru’'>  nl  .uJti'->'-»  6^'^.  'iv^rjj 

sd*  os  xld  '^i>  = i.l^  Jb^iK-^noH  , ~ uv*if»i'r>o%  J|j>  .loO-  cri^ 

■ *— 

tfjBTOil  . .ViriX^S  yU  ^{0  i^f-iot  ftit-riJ  -Hi;  Ioooo« 

hftii  btu^  Ll^ifT  ts‘:.  ir.X.-..  .o« I^i  drt  '■:  ««»' 

-Tolw  JbfeifeSv'Xif?;  siod^sfn  0Wj  lo 

-» .'rf' ■*'  ' ■ i&ViOOt'”J  Lt' tf;  ? ' I' ' .Ci]||i'liv  , ''-l/lli^  ^t'^soR  Ito  3 dJi^ 

, ■-*  {r  - 

ItiOt  X nolj  i.ii  *-**i  Pi-C^^  Xt'  ft  XcJ 'i  i »t»  dOf^'  '*-•*  flOiJ 

. .Lsboja  i®4»lO 

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Jiimsu’l  sid  ^>tl  lil  X-ed-' uCl  Y4j  ie-aiaax 

n«  ii  n»->4--v  , fi;.  _i  ts’ 

...  xTt»t^':  ii*  aiJX  oj 


,iidr:7  :.t^:ivi  ct  aHiEsxi '^‘ohasi^oh 

ae^Ax.  ^QK-ii/oo  aO  ..  Xix'2'i’^"  o*i'  e ' ux^exioK 

eH  .ioon^a  Bj-d  :o  s^jJtryooL  odi^  to  nol*^o££d.^  . ydd’  6-it-^cf,  ifiioX 
L-djr^ci  J3  ^.^,naiiv;  dcifri^at  a ^^.nxxi'xw  ^ . ovm 

ain  TiuJltij  ’{ini ij'if’O  * ‘itrtfngXeiJ  dui't  i/hltius^s 

ffCvod  tv  .ill  Xo:jw  dixc-sJ.’  xi  ^iryX  nl  "■••'j'‘.;i  asiJpOi;X> 

sij  6 ”ijgs , -i oi>A;a j«sa a ■* ■.  odd  1v  ctcj*  ?.syff  el‘  or.i^nA'^^ 


vla/'X^ct  secdvy  xdi?  't<5 


.•no'x'  rworU  X.iJd  i *4«no^i-^i.'TOxlw 


if.  :'. ’i'l^LupH  lo  aoli^m*iot  iii  Xci^n8;.fr3ni  &'i®«  c^fnemnir'? 

t'f 

bissXYO^  i ’“i .' r<? c.  *li  Xi'i- unairX'lr’i  ax^Tr  ( t36X*"'VXSX) 

' niXi-u  Cid 

zo^i-si  [«f.J  rtpr'j  svi-'n  T.Xo3ii:iK  t*H  .2(c:a'xX)  ni 

si  v::V.  .TrXodcs  £>«jcvt*b  J5  day#,  nesd.  ?t>a  ed?  lo 

f.Xi'JoX^  ods"  7^r>,e.;^  s ajp^  L^'jpbluisoo  yXlAit*fi98 

.‘■iig-:  ■a-^  :/-xA  aid  ':o  ,320 1 ^/.-od* 


7. 


pressed.  In  1545  appeared  Peletier's  translation  of  Horace's  Ar_s 
poetica.  which  contains  so  many  of  the  ideas  of  the  Defense  and 
also  sets  forth  rules  for  the  much  desired  epic.  Peletier  was  an 
admirer  of  Virgil  and  doubtless  influenced  Ronsard  in  his  desire  to 
imitate  him. 

But  to  return  to  the  Defense,  poets  are  therein  urged  to 

imitate  Virgil:  "Chante  moy  d'une  musette  bien  resonante  et  d'une 

fluste  bien  jointe  ces  plaisantes  eglogues  rustiques^a  I'exemple  de 

Theocrite  et  de  Virgile  Que  pleust  aux  Muses,  qu'en  toutes  les 

especes  de  poesies  que  j'ay  nommees  nous  eussions  beaucoup  de 

telles  imitations,  qu'est  ceste  eglogue  sur  la  naissance  du  fils  de 

monseigneur  le  Dauphin,  a _mon  gre  \in  des  meilleurs  petits  ouvrages 

1. 9 

que  fit  oncques  Marot." 

This  eclogue  of  Marot  is  an  imitation  of  the  fourth  eclogue 

of  Virgil.  Furthermore  the  expression"fluste  bien  joints"  is  Vir- 

gilian  corresponding  to  "fistula  cera  iunota  fuit"  ,III,  25. 

Elsewhere  in  the  Defense  there  are  several  passages  Virgilian  in  tone 

"volent  ....  par  les  bouches  dee  horames"^^  and  "voler  par  les  mains 

et  bouches  des  hommes"^^  are  remimscences  of  Geor . . Ill,  9.  The 

idea  of  the  sentence:  "Les  uns  aiment  les  fraisches  ombres  des 

forets,  les  clairs  ruisselets  douoement  murmurans  parmy  les  pres 

22 

orne*  et  tapissez  de  verdure"  is  taken  from  Geor. .II . 485-489.  A 
brief  eulogy  of  France  in  the  last  chapter  of  the  second  book  recall 
Virgil ' sjfamous  praise  of  Italy:  "Je  ne  parleray  ici  de  la  teraperie 

de  I'air^  fertilite  de  la  terre,  abondance  de  tous  genres  de  fruiots 

^®Louis  Humbert's  ed.  of  the  Defense,  p.  87. 

SOibid.,  p,  69. 

21lbid.,p.  84. 

23Ibid.,p.  105.  


:^1 

, '’tt60T[q 


X;,"}.'  *■■•'  -f’-‘ X lo  ^ aiiia^noc  aolii^  t^'JASJLn. 

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*r.id  ni  ^':.jr.fto^^  irsoneu J'liiJL  fc*n/’  lig^V  lo 

4 

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•aX:;r^sy.r .--'•  s»i/t i aVo  Sst/iiot  a^auX^  ! 

L ^oc-Joi  w'uf  ,3RHv:x  litj&cq  XisictT  aji  3ra  -feri-^ofcaT 

oX  -Tt'D: a.'-or.  v/-.’^  »/jp  ,eol-fcoq  feii  tiWftqa© 


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a&A-x^orjo  jJ  i.1  aii?>  ^ 

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liV  r.i  ■'tjv'niot  noic  e j . . ..•.  jjce-  anil-  ti.Toa'isriJTu'^^  .IijiiiV  lo 

, L-.  ®cfii;'i  /^iTonui 

.ni  .L i r/- i**-  sfep^ic  i yj’sbve^  six  si®n?  ad^  *ii  C'ii;t^-*  X 

ijK  eal  'X4.  -itiXov’'  ::ajs  elx  Stedcroc  ovl  ....  aaaXav"  | 

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310'i':  neaii?  -i  o-;y  LftLaXq^?  a''jxt*to 

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y/:i&X‘xr/;:  eo’*  lyX^'t'^  Xo  esiXiviq  aiforw  X n ' XxaiXV 

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necesBaires  pour  I'aise  et  entretien  de  la  vie  humaine,  et  autres 

innumerables  commodltes  Je  ne  contaray  tant  de  grosses  riMieres, 

tant  de  belles  forests,  tant  de  villas,  non  moins  opulentes  que 
fortes,  et  pourveues  de  toutes  munitions  de  guerre  ....  aussi  le 
tigre  enrage,  la  cruelle  semence  des  lyons,  les  herbes  empoi- 
sonneresses  et  tant  d'autres  pastes  de  la  vie  humaine,  en  sont  bien 
elongnees. 

For  the  figure  of  Antonomasia  Virgil ian  examples  are  given: 
"Tu  en  as  assez  d'autres  examples  es  Grecs  et  Latins,  mesmes  en  ces 
divines  experiences  de  Virgil e,  comma  du  Fleuve  glace,  des  douze 

2 

signes  du  Zodiaque,  d'lris,  des  douze  labeurs  d'Hercule  et  autres". 
Virgil  is  also  mentioned  as  model  in  the  discussion  of  choice  of 
words:  "Use  de  ....  quelques  mots  antiques  en  ton  poeme,  a 1 ' ex- 

ample de  Virgil e,  qui  a use  de  ce  mot  olli  pour  illi . aulai  pour 
aulae . et  autres."^® 

In  the  exhortation  to  write  a "long  Poeme" contained  in 

chapter  5 of  the  second  book ^references  to  Virgil  inevitably  appear: 
si 

"CertaimnentA  nous  avions  des  Mecenes  et  des  Augustes,  les  cieux...ne 
sont  point  si  ennemie  de  nostre  sieole^  que  n'eussions  encore  des 
Virgiles,"26  In  all,  the  name  Virgil,  who  is  mentioned  "volontiers 

^3ibid. 111-112.  Of.  Gfiar.,II,  136-176. 

^^Ibid.  , p.103.  The  references  to  Virgil  are: Geor.,  Ill , 360;  I, 
231-233;  Aen..  IV,  700-702;  VIII,  287  ff. 

^Slbid. . p.  94,  Aen. . I,  254;  III,  354. 

26itid. , p,  90,  This  line  may  come  from  Martial's  "Sint  Maecenates, 
non  deerunt,  Flacce,  Marones". 


aI  yi.  awi^o-iJiro  etti^’I  iifoq  ?io,'ii-c-«eofca 
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1?;. 


9 


et  par  honneur"^'^,  appears  no  lees  than  twenty  times  in  the  mani- 
festo of  the  Pleiads. 

Turning  to  Ronsard's  own  prose  works  on  the  subject  of 

poetry  we  find  many  points  where  Tirgil  is  held  up  as  a model.  In 
, ..  28 

the  Abbrege  de  1 *Art  poetioue  fran90is  it  is  suggested  that  a 
poet  of  a great  work  will  show  himself  to  be  religious  if  he  begins 
his  poem  by  naming  Deity  or  some  one  who  represents  a phase  of  His 
majesty,  such  as  "Musa,  mihi  causas  memora  " ( Aen . , I,  8).  "Elocu- 
tion" is  defined  as  the  choice  of  words  which  V^irgil  and  Horace  so 
carefully  observed,  Virgil  and  Horace  are  also  characterized  as 
close  observers  of  the  rule  that  epithets  should  be  sought  which 
mean  something,  not  those  which  merely  fill  out  a verse.  The  line 
"Centre  Mezance  AEn6‘ bransla  sa  pique"  (Cf.  Aen. . X,  783)  is  given 
as  an  example  of  the  proper  way  to  omit  a feminine  e.  in  the  middle 
of  a verse. 29  in  the  1572  preface  of  the  Franc iade  Homer  and  Virgil 
are  praised  for  deviating  from  history  in  their  epics_>and  an  apology 
is  offered  for  making  the  description  of  the  kings  in  the  Franciade 
longer  than  Virgil’s  account  of  the  Roman  rulers,^ 

27lbid. , p.56.  On  page  35  of  his  Sources  Italiennes  de  Du  Bel lav 
Villey  states  that  the  constant  recurrence  of  the  names  Homer,  De- 
mosthenes, Virgil,  and  Cicero  is  due  to  imitation  of  the  Italians 
Speroni  and  Berabi,  but  this  fact  does  not  prevent  the  members  of  the 
Pleiade  from  being  voluntary  admirers  of  these  fo\ir  great  ancients. 
There  would  have  been  no  imitation  of  the  Italians  if  the  ancients 
had  not  been  highly  esteemed  on  their  own  account. 

3s 

First  published  in  1565,  All  of  Ronsard's  prose  works  are  to  be 
found  in  the  seventh  volume  of  Laumonier's  edition. 

22Lau.,VII,  45-46,  51,  53,  and  56. 

^Lau.,  VII,  66  and  67. 


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I 


10. 


The  1587  preface^^  of  the  Franc iade  . which  expounds  Ron- 

sard's  rules  for  an  epic  poem,  fairly  abounds  in  references  to  the 

Aeneid.  The  description  of  Chloreus,  the  priest  of  Cybele  (Aen. , 

XI,  768-777),  the  catalogue  of  the  Latin  warriors  (Aen.  Vli,  623- 

817)  the  quarrel  of  Juno  and  Venus  (Aen. . X,  15-95),  the  cajoling 

of  Vulcan  by  Venus  (Aen. . VIII,  387-453),  larbas'  indignant  prayer 

to  Jupiter  (Aen. . IV,  206-218),  the  lament  of  Euryalus'  mother 

(Aen. . IX,  481-497),  the  boasting  of  Numanus  (Aen. , IX,  595-620), 

the  wrath  of  Hercules  slaying  Cacus  (Aen.,  VIII,  219-267),  and  the 

lament  of  Meaentius  over  the  body  of  his  dead  son  (Aen. , X,  846-856) 

are  cited  as  examples  of  ornate  verse.  "Relisant  telles  belles  con- 

32 

ceptions,  tu  n'auras  cheveu  en  teste  qui  ne  se  dresse  d' admiration? 

The  basic  idea  of  the  epic, says  Ronsard,  Should  be  some  in- 
cident taken  from  old  annals  which  has  gained  credit ^like  the  tradi- 
tion of  Aeneas'  voyage  used  by  Virgil.  Paraphrases  are  recommended 
for  all  good  poets,  since  Virgil  in  describing  day  or  night  uses 
"belles  circonlocutions**(Aen. . IV,  6-7  and  522-525).  For  spring  also 
Virgil  has  a beautiful  couplet  (Geor .,  I,  43-44),  for  ploughing  he 
writes  "vertere  terram"  (Gsfls.  I,  1-2),  for  spinning  "tolerare  vitam 
colo  tenuique  Minerva"  (Aen. . VIII,  409),  for  bread  "Dona  laboratae 
Cereris"  (Aen. , VIII,  181)  and  for  wina,  Bacchus  (Geor. . II,  143). 

Wise  choice  must  be  exercised  in  such  phrases,  but  Virgilian  expres- 

'Z'Z 

sions  for  storms  and  tempests  must  not  be  forgotten. 

^^See  note  9. 

32Lau.,  VII,  76-77 
33Lau.,  VII,  84,  77,  78. 


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11. 


”Quant  aux  Gapitaines  et  conducteurs  d'armees  et  soldats,  i 
tu  an  diras  las  pares  et  las  meres,  ayeux,  villas,  et  habillements^  ! 
et  leurs  nalssances,et  feras  une  fable  la  dessus,  s' 11  en  est  besoln, 
comrae"  Aen. , IV,  198 j VII,  761-763;  I5f,  545-547;  and  VIII,  460.  The 
minds  of  the  characters  are  to  be  assured  by  signs,  oracles,  or  gods  i 
disguised  as  human  beings  as  in  Aen.,  VII,  81-3;  I,  393;  II,  682-683; 
and  IJC,  646-648.  Enjambement  is  commendable  since  it  is  found  in 
Greek  and  Roman  authors,  as  in  Aen. . I,  2-3.  From  Homer  and  Virgil 
Ronsard  also  learns  that  hiatus  is  not  improper,  as  "sub  II io  alto" 
and  "lonio  in  magno"  (Aen. . V,  261  and  III,  211).  Gifts  should  be 
presented  by  one  leader  to  another  and  embellished  in  description, 
as  in  Aen. . VII  , 275-283  and  V,  349-250.  The  death  of  a prominent 
warrior  calls  for  his  epitaph  and  mention  of  his  services  in  a half 
line  or  line  like  Aen. . VI,  166.  Prayers  and  sacrifices  should  be 
given  due  space  in  accordance  with  Homer  and  Virgil.  In  the  com- 
position and  structure  of  verses,  follow  Virgil  who  is  past  master  in 

booK 

that  art  and  note  the  effect  of  the  closing  lines  of  the  eighth ^of 
the  Aeneid  (ll.  689-690).  Neither  should  "lumieres"  nor  "petites 
ames  de  la  Poesie",  such  as  Aen.  XII,  360;  X, 396, 600, 782 , be  overlook' 

ed.34 

34 

Lau.,VlI,  85-86,  87,  88-89,  90,  93.  Ronsard  explains  his  frequent 
quotations  of  Virgil  as  follows  (lbld.^87):  "Je  m'asseure  que  les 
envieux  caqueteront,  dequoy  j'allegue  Virgile  plus  souvent  qu'Homere 
qui  estoit  son  maistre,  et  son  patron:  mais  jo  I'ay  fait  tout  expresj 

spachant  bien  que  no&  Franpois  ont  plus  de  cognoissanoe  de  Virgile, 
que  d'Homero  et  d'autres  Autheurs  Grecs."  He  himself  is  undoubted- 
ly to  be  included  in  "nos  Franpois"  in  spite  of  his  great  esteem  and 
exceptional  knowledge  of  Homer. 


iii  ioriovo  er/  , ocr  ? . . C^ jOOf,  ,1IX  . aoi4U  , ”6Xd»0'i  JsX  efc'  ; 


\ 


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4 rJiS  T'  U*  v,p 
1,-9 Cl ?iJ03 

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; ijfi^ -■4ae93f!&  ^ -,01,.  wxii  "io  t nt  to aoa"  ax  o?  ’{I 

’tocbo^  ^10  fi^ijelwoci  isoK® 


12. 


But  even  Virgil  is  not  always  above  reproadi,  for  in  Aen. , 

V,  46-48  he  shows  that  the  action  of  his  epic  covers  more  than  a 
yeair,  the  period  which  is  the  limit  of  all  epics  according  to  the 
sixteenth  century  rula.  And,  then,  neither  poet  nor  historian  sbo\ilc 
belie  historical  facts,  as  Virgil  does  in  permitting  Aeneas  and  Dido 
to  be  contemporaries,  alth«j)lj;he  Latin  poet  is  to  be  excused  on  the 
grounds  that  he  was  seeking  to  please  Augustus  and  the  Roman  con- 
querors of  Carthage  by  suggesting  Dido's  imprecations  against  Aeneas 

35 

as  the  beginning  of  the  hatred  of  the  Romans  and  Carthaginians. 

There  are,  of  ODurse,  numerous  other  directions  for  epic 

poets  which  are  based  upon  both  Virgil  and  Homer,  but  which  are  not 

substantiated  by  direct  references  to  either  of  the  great  ancients. 

The  task  of  the  poet  is  to  begin  in.  mediae  res  and,  then,  by  events, 

speeches,  dreams,  prophecies,  paintings  on  the  wall  or  engravings  on 

to 

armor,  words  of  dying  men,  and  omens^^carry  the  tale  to  a close  which 
is  artistically  bound  to  the  beginning.  The  argument  should  at 
times  be  reinforced  with  ancient  myths  and  at  times  axiomatic  state- 
ments should  be  interwoven  in  the  text.  The  gods  should  converse 
with  men  and  the  warriors  give  harangues.  The  poet  should  be  a 

philosopher,  anatomist,  and  lawyer,  but  for  the  basis  of  his  plot  he 

36 

should  follow  not  the  historical  truth,  but  the  possible  and  likely. 

It  is  also  in  this  preface  that  Virgil  is  exalted  above  all 
other  Latin  poets:  "Au  rests,  les  autres  Poetes  Latins  ne  sont  que 

naquets  de  ce  brave  Virgile,  premier  CapKaine  des  Muses,  non  pas 
Horace  mesmes,  si  ce  n'est  en  quelques-unes  de  see  Odes,  ny  Catulle, 

35Lau.,  VII,  79  and  81-82. 

36Lau.,  VII,  79-81.  In  this  last  statement  Ronsard  slightly  contra- 
dlcts  his  criticism  of  Virgil's  historical  accuracy. 


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Tibulle,  et  Proper ce,  encore  qu'lle  soient  tres-excellents  en  leur  | 

meatier:  si  ce  n'est  Catulle  en  son  Athis,  et  aux  Nopces  de  Peleus: 

le  reste  ne  vaut  la  chandelle."  The  majesty  of  the  Virgilian  style 

is  twice  mentioned,  and  the  Aeneid.  which  neither  crawls  on  the 

37 

ground  nor  climbs  too  high^ is  called  divine. 

The  preface,  therefore,  shows  Virgil  regarded  as  a highly 
respected  model  at  the  close  of  Honsard's  life,  but  the  desire  to 
write  an  heroic  poem,  which  wish  had  been  present  as  his  greatest 
ambition  from  early  youth,  inevitably  testifies  that  Ronsard  both 

i 

had  Virgil  before  his  ^es  and  desired  to  imitate  him  throughout  his 
life.^®  This  ever  present  desire  is  really  much  more  important  than 
the  Franoiade  itself,  especially  when,  after  the  publication  of  the  | 
Defense  , Ronsard  became  generally  proclaimed  as  the  poet  who  would 
exalt  the  French  tongue  by  writing  an  epic  in  it.  It  cannot  be  de- 
finitely determined  when  the  desire  originated,  but  what  must  have 
been  the  genesis  of  his  poem  corresponds  very  closely  to  hie  sup- 
positions^ expressed  in  both  the  1573  and  1587  prefaces  of  the  Francl- 

ade.  of  the  conceptive  idea  for  the  Aeneid:  "Virgile  lisant 

en  Homere,  qu'ASnee  ne  devoit  mourir  a la  guerre  Troyenne,  et  qua  sa 
posterite  releveroit  le  nom  Phrygian,  et  voyant  que  les  vieilles 
Annales  de  son  temps  portoyent  qu  'AEnee  avoit  fonde  la  ville  d'Alba, 
ou  depuis  fut  Rome,  pour  gaigner  la  bonne  grace  des  Cesars,  qui  se 
vantoyent  estre  sortis  d'lule  fils  d 'AEnee,  conceut  ceste  divine 

^'^Lau.,VII,  82-83. 

38After  Ronsard' s study  of  Greek  under  Dorat  began,  Homer  was  probably 
more  highly  regarded  for  a time  than  Virgil,  but  since  the  idea  and 
plan  of  the  Franoiade  are  Virgilian  rather  than  Homeric  in  spite  of 
Ronsard' s statement  to  the  contrary  (Lau.VII,  68),  it  is  clear  that 
Virgil  was  never  lost  sight  of  by  Ronsard. 


• I” 


. Kx 


•s 


i 


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14. 


AEneide  qu'aveq  toute  revarenoe  nous  tenons  an cores  aujourd'huy  i 

39 

antra  las  mains."  ! 

For  the  conception  of  Ronsard's  poem  we  might  write:  "Ron-  , 
sard  reading  in  Homer  and  Virgil  that  Hector’s  son,  Astyanax,  had 
been  killed  by  the  Greeks,  but  wishing  to  have  a hero  like  Aeneas 
whose  posterity  would  again  exalt  the  Phrygian  name  and  seeing  that 
the  old  annals  declared  that  the  Tro;jan  Francus  had  founded  the  city 
of  Sicambre  and  later  that  of  Paris,  in  order  to  gain  the  favor  of 
the  French  royal  house  which  boasted  of  having  sprung  from  Francus, 
son  of  Hector,  conceived  the  Franc iade  after  explaining  that  Hector's 
son,  Astyanax,  auid  Francus  were  the  same  person  and  had  not  died  in 
the  Trojan  war." 

The  tradition  of  Francus'  founding  of  the  French  nation 

after  having  previously  established  a city  on  the  Danube  had  long 

existed  and  had  been  treated  by  early  sixteenth  century  writers  who 

40 

had  found  it  in  the  old  national  chronicles.  The  appearance  in 
1510-11  of  the  letter  of  Jean  d'Authon  to  Louis  XII,  purporting  to 
be  from  Hector  of  Troy,  and  Of  the  answer  written  by  Jean  le  Maire 
for  the  king  acknowledging  his  relationship  to  Hector, had  spread  the 
idea  of  the  Trojan  origin  throu^  the  court.  In  the  third  book  of 
his  Illustrations  de  Gaule  (1512)  Jean  le  Maire,  who  was  one  of  Ron- 
sard's favorite  authors  when  in  his  youth  he  deigned  to  read  his 
French  predecessors,  further  accredited  the  legend.  Jean  Bouchat's 

39Lau.,  V/II,  69. 

The  belief  is  accredited  by  Sidonius  Apollonarius^ Gregory  of  Tours, 
Fredegarius,  Wace,  Benoit  de  Sainte-Maure,  Vincent  de  Beauvais,  the 
Chrpniques  of  Tongres,  the  Chronicue  ^ la  France  by  Robert  Gaguin  anc 
many  others. 


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15. 


Anciennes  et  modernes  genealogies  des  Roys  de  France  (1527)  had 

also  discussed  the  tradition"^^  and  in  the  last  stanza  of  his  first 

Pindaric  h3rmn  Aiamanni  calls  Francis  I "la  sainte  descendance  de 

Troye."  The  last  point  in  the  analogy  of  the  conceptions  of  the  ! 

two  epics  is  undoubtedly  true,  as  it  is  attested  to  by  Ronsard  him- 
42 

self:  Ronsard  wrote  in  order  to  please  the  French  monarchs,  who 

were  as  flattered  as  Augustus  to  be  considered  descendants  of  the 
Trojans. 

That  this  Virgilian  conception  of  his  epic  poem  and  the 
consequent  desire  to  imitate  Virgil  were  continually  present  in  his 
thought  may  be  seen  by  the  numerous  references  to  the  Franciade  | 
throughout  Ronsard' s poems.  The  idea  of  the  epic  in  all  probability! 
dates  from  about  1542  soon  after  the  memorization  of  Virgilf^  tut 
it  cannot  be  shown  to  be  much  earlier  than  1545,  because  only  six 
of  Ronsard 's  poems  were  published  before  1550.  A sonnet  mentioning 
the  meeting  of  Ronsard  and  Cassandre,  which  took  place  in  April, 

1545  refers  to  the  Franciade: 


41 

Guillaume  Cretin  also  speaks  of  it  in  his  Chroniaue  francoise.  i 
1515-1525.  I 

^Lau.,  VII,  69  in  the  preface  of  1572:  "Ayant  done  une  extresme 
envie  d'  honorer  la  maison  de  France,  et  par  sur  tout  la  Roy  Charles  I 

neufiesme  mon  Prince, " | 

1 

^^Cf.  Chamard  in  Rev,  de  1 'h.  1 . . Vol.  VI,  p.  33;  "Dans  la  societe  i 
du  seigneur  Paul,  il  s”^tait  pris  d'admiration  pour  les  deux  poetes 
souverains  de  I'antiquite  romaine.  C'est  peut-etre  alors,  - en 
cet  age  des  grandes  pensees  et  des  fieres  ambitions,  - que  s'eveilla 
dans  son  esprit  I'idee  premiere  de  tailler  un  jour  une  6pop6e  sur 
le  patron  de  1 'Eneide. " 


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16. 


"Ja  desja  Mars  ma  trompe  avoit  choisie, 
Et  dans  mes  vers  ja  Franous  devisoit: 


Ja  d’une  horreur  Gaule  estoit  saisie^ 

Et  sous  le  fer  ja  Sene  tre-luisoit, 

Et  ja  Francus  a Paris  conduisoit  .. 

Le  nom  Troyen  et  I'honneur  de  I'Asie:” 

In  the  Virgil ian  Hymne  de  France  (1549)  one  of  the  six  poems  pub- 
lished before  1550  there  is  an  allusion  to  Jupiter’s  favoring  the 
Frenchman  as  the  "enfant  d'Hector".  There  are  references  in  the 
odes,  many  of  which  were  written  before  1550 J in  the  Ode  a Bou.iu 
An .1  evin  (1550): 

"Et  mon  ame  n’est  ravie 
Que  d’une  bruslante  envie 
D’oser  un  labeur  tenter 
Pour  mon  Prince  contenter, 

and  in  the  Ode  a Oa-lliope  (1550): 

"Je  veux  sonner  le  sang  Hectorean""^® 

But  the  Ode  de  la  Paix  (April,  1550)  is  even  more  important,  for  in 
it  the  first  plan  for  the  epic  is  set  forth  in  the  prophecy  of 
Cassandre  to  Francus^ much  of  which  has  a Virgil ian  flavor: 

"Pres  des  levres  de  I'eau  Pontide: 

C'est  la  c’est  Ik  c’est  oil  tu  dois 
Pour  quelque  temps  donner  tes  lois: 

C’est  ou  1 'arrest  des  Dieux  t'ottroye 
Fonder  encore  une  autre  Troye, 

Resuscitant  par  ton  moyen 
L'honneur  des  tiens  et  leur  proesse, 

Ayant  vange  dessus  la  Grece 
L' outrage  fait  au  sang  Troyen. 


^"^Lau.,  I,  34;  Bl.,  I,  43. 

^^Lau.,  II,  157;  Bl . , II,  106.  The  reference  to  the  Hymne  de  France 
is  in  Lau.,  VI,  83;  Bl.,  V,  386. 

4.R 

Lau.,  II,  187;  Bl.,  II,  136.  For  another  early  allusion  to  the 
Franc jade . see  Lau.,  VII,  345. 


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17 


Apres  le  cours  de  quelque  annee, 
L'ire  de  Ceres  foroenee 
Pour  devot  n 'avoir  satisfait 
A ses  honneurs,  toute  mutine 
Te  contraindra  par  la  famine 
De  quitter  ton  mur  imparfait. 


Ayant  trompe  mills  peris, 

Ains  que  bastir  aux  bords  de  Seine 
Les  murs  d'une  villa  hautaine 


De  pleurs  la  tombe  il  honora, 

Et  de  beaux  jeux  la  decora. 

Par  joustes  esprouvant  I'adresse 
De  la  Phrygienne  jeunesse." 

The  Ode  a Michele  d'Hospltal  (1553)  contains  an  appeal  to 
the  Muses  for  ability  to  sing  "Francion"  and  the  "tige  Troyen"^®. 

The  Ode  a Claude  de  Ligneri  (1552)  speaks  of  the  "Franciade  com- 
menc6e".  The  Harangue  du  Due  de  Guise  (1553)  and  the  Elegie  en 
forme  d' Epitaphs  d* A,  Chasteigner  mention  the  coming  of  the  Trojan 
Francus  to  France. It  is  clear  from  the  Elegie  a Cassandre 
(1554)  and  the  Ode  a Monsieur  d* Angoulesme  (Jan.,  1555)^^  that  the 
king  Henry  II,  commanded  Ronsard  to  begin  his  poem  in  1554,  but  the 
poet  refused  to  start  work  until  he  should  be  given  more  benefices, 
and  began  to  write  odes,  sonnets  and  chansons  again,  as  is  sho’wn 

CO 

in  the  ode  Nagueres  chanter  ,1e  voulois  (1555)  , in  which  Francus  is 

^■^Lau.,  II,  81-83;  Bl.,  II,  27,38.  Cf.  Aen • . IS  ff.  140,  ff; 

I,  5;  V,  545,  ff. 

48Lau.,  II,  137,  147;  Bl.,  II,  87,  97. 

'^^Lau. , II,  419;  Bl.,  II,  338.  The  Lau.  edition  has  ”avano4e”,  a 
later  reading. 

SOLau.,  V,  34,  278;  Bl.,  VI,  33;  VII,  207. 

51 Lau.,  I,  110,  II  257;  Bl.,  I,  134;  II,  197.  The  latter  poem  is  en- 
titled a Monseigneur  le  Due  d'Alencon  in  Lau. 

52Lau.,  ff,  344-5;  Bl . , II,  273^  — 


J 


18. 


bidden  farewell.  At  the  time  of  the  appearance  of  the  edition  of 

the  Quatre  premiers  livres  des  Odes  (1555),  the  state  of  affairs 
53 

was  the  same,  but  Virgil ian  ideas  are  to  be  found  in  the  plan  sug- 

54 

gested  for  the  Franoiade: 

"Presques  \in  an  entier  contre  eux  il  batailla, 

Et  mills  fois  en  proye  a la  mort  se  bailla. 

Taut  il^eut  de  peine,  ains  que  Francus  en  France 
Semast  de  tes  ayeux  la  premiere  naissance.'lSS 

In  the  Epistre  a Charles  Cardinal  de  Lorraine  (1556)  the 
author,  still  displeased  at  the  king’s  failure  to  give  him  aid,  as- 
serts that 

"Virgile  n'eust  jamais  si  bravement  chante 
Sans  les  biens  de  Cesar^^o 

Early  in  IbbS^*^  Ronsard  offered  to  undertake  the  poem  again,  but 
abandoned  it  altogether  when  the  king  paid  no  attention  to  his  pleas 
for  assistajice. 

It  was  not  until  the  end  of  1566  that  the  Franc iade  was  re- 


I^Lau.,  II,  76;  Bl., 
„Lau.,  II,  331-236; 
56Lau.;  n;  234;  BI* 

56Lau.,  VI,  293;  Bl ! 
found  in  Lau.,  IV, 


II,  21. 

Bl.,  II,  172-177. 

, II,  174i  ct. 

, VI,  287.  Another  1555  reference  is  to  be 
197;  Bl.,  V,  77. 


57 

Lau.,  VI,  305;  Bl.,  V,  302.  Six  other  sonnets  in  the  Nouvelle  con- 
tinuation des  amours  (1556)  (Lau.,  VI,  304,  305,  306;  II,  11,  12, 
13;  Bl.,  V,  303,  309,  317,  326,  329,  330)  make  appeals  to  various 
courtiers  for  assistance.  A sonnet  to  d'Avanson  (1558)  (Lau.,  II, 
16;  Bl.,  V,  335)  shows  the  poet's  discouragement.  Cf.  also  Lau., 

V,  148  and  153.  The  third  elegy  for  Genevre,  published  first  in 
1571,  but  probably  written  in  1562  shortly  afuer  the  other  two 
elegies  for  Genevre  (Lau.,  IV,  111;  Bl.,  IV,  310)  mentions  Francus, 
but  the  Complainte  a la  Heine  Mere  (1563  Lau.,  Ill,  294;  Bl.,  Ill, 
377)  and  the  Epistre  preface  of  the  NouvelleB  Poesies  (1564. Lau., 
VII,  28;  Bl . , VII,  138)  testify  to  the  entire  abandonment  of  the 
work. 


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19. 


oommencad  xmder  the  encouragement  of  Charles  IX^®  with  the  command 

that  this  second  attempt  should  be  written  in  decasyllabics  in- 

cq 

stead  of  Alexandrine.  In  1567  two  fragments  of  the  new  decasyla- 
bic  version  appeared  in  the  second  edition  of  Denys  Lambin' s 
Oeuvres  d'Horace  (Paris,  Mace,  1567)  in  the  second  volume,  pp.  359- 
361.  The  first  of  these  fragments,  sixteen  lines  long  is  embodied 
with  variations  in  the  beginning  of  the  Franoiade;  but  the  second 
of  104  verses,  the  prophecy  of  Cassandre  concerning  Francus'  for- 
tunes was  sacrificed  by  Ronsard  aind  cannot  be  found  in  any  of  his 

60 

editions  of  the  epic.  They  help  to  show  that  much  of  Ronsard' s 
time  from  1566  until  1572  was  spent  in  writing  and  rewriting  the 
first  four  books  which  finally  appeared  shortly  after  the  massacre 
of  St.  Bartholomew's  Day  1572?^  There  is  also  in  the  Precellence 
de  la  langue  fran^oise  (1579)  by  Henri  Estienne  a quotation  in. 
Alexandrine  supposedly  from  the  Franoiade . If  it  is  authentic, 
as  is  very  probably  the  case,  it  may  have  been  written  either  dur- 

®®See  the  poem  addressed  to  Charles  (Lau. , III,  236;  B1 . , III,  317), 
published  in  1567,  but  written  at  the  time  of  Charles'  visit  to 
Ronsard 's  priory  of  Saint-Cosme  the  end  of  November,  1565. 

^'’Cf . the  insertation  in  the  second  edition  of  the  Abbrege  de  1 'art 
poetiQue  (1567.  Lau.,  VII,  59;  B1.,VII,  330-331). 

®^Cf.  the  article  by  Lauraonier  in  the  Rev,  du  Seizieme  Siecle .1916. 
pp.  121-2,  136-9. 

61  / . 

Binet  ted.  of  Lau.,  p.  25)  says  that  Ronsard  had  written  the  plan 
of  fourteen  books  by  the  time  of  his  death.  Colie tet  corroborates 
Binet  for  twelve  of  the  books.  (Ibid. .158) . 

62 

Ed.  of  Louis  Humbert,  pp.  207-209.  Cf.  also  Laumonier  in  the 
Rev,  du  Seizieme  Siecle.  1916,  pp.  124,  139-140, 


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20.  1 

1 

ing  the  first  period  of  Ronsard's  work  on  his  epic,  or  between 
1574  and  1579  that  is  to  say,  between  the  death  of  Charles  IX,  who  | 
objected  to  Alexandrine, and  the  date  of  the  publication  of  Estien-  i 

ne's  work.®^  In  either  event  it  constitutes  further  proof  not  only  j 

1 

of  continual  labor  on  the  Franc iade jbut  of  the  desire  to  imitate  | 
Virgil  as  well,  for  the  quotation  is  a French  version  of  the  com- 
parison of  the  gleam  of  Pyrrhus'  armor  to  the  brightness  of  a 
snake's  new  skin  in  spring,  taken  from  Aen. . II,  469-475, 

After  the  publication  of  the  first  edition  Ronsard  occupied 
himself  at  tines  in  altering  the  poem  for  the  editions  of  1574, 

1578,  1584,  and  up  to  the  time  of  his  death,  for  that  of  1587,  In 
addition,  references  may  be  found  to  Francus  in  works  of  1567,  1572, 
and  1584,®^  From  this  survey  it  may  be  seen  that  Ronsard's  mind  was 
never  long  removed  from  Francus  and  his  efforts  to  lead  his  Trojans 
on  their  fateful  journey  to  France, 

The  respect  for  and  use  of  Virgil  by  Ronsard's  associates 
also  contributed  to  his  desire  to  imitate  him.  Peletier  translated 
the  first  book  of  the  Georgies  in  1547,  besides  writing  four  Virgi- 
lian  odes  on  the  seasons;  Du  Bellay  the  fourth  book  of  the  Aeneid  in 
1552,  a fragment  of  the  fifth  in  1553,  the  sixth  in  1560  and  the 
More turn  in  1558.  The  entire  Aeneid  was  translated  by  Louis  des 
Masures  from  1547  to  1560.  In  regard  to  his  reading  of  Masures' 
translation  Ronsard  remarks: 

63 

The  fragment  more  likely  belongs  to  the  latter  fariod  both  because 
of  the  date  of  the  Preoellenoe  and  of  Binet's  statement  (ed.of 
Lau.,21):  "il  n'en  fit  rien  voir  durant  son  regne"(the  reign  of 

Henry  II,  1547-1559). 

®^Lau.,  VI,  420,  425-428;  V,  257;  II,  460. 


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21. 


”Et  sans  barbs  et  barbu  j 'ay  releu  tes  escrits, 
Qui  engardent  qu  'Enee  en  la  France  ne  meure."°® 


Remy  Belleau  imitated  Virgil  in  his  eclogues  and  Balf  did  likewise 
in  his  Premier  des  m^t^ores  (1567).  One  of  Jodella's  first  trage-  I 
dies  was  Dldon  se  sacrif iant. 

Ronsard's  own  esteem  for  Virgil  is  evidenced  in  passages 
occurting  throughout  his  poems: 


"AhJ  que  me  plaist  ce  vers  Virgil ian, 

OCi  le  vieillard  pere  Co  rye  ian 
Avec  sa  marre  en  travaillant  cultive 
A tour  de  bras  aa  terre  non-oisive, 

Et  vers  le  soir  sans  acheter  si  oher 
Vin  en  taverns,  ou  chair  chez  le  boucher, 

Alloit  chargeant  sa  table  de  viandes, 

Qui  luy  sembloient  plus  douces  et  friandes 
Avec  la  faim,  que  celles  des  Seigneurs 
Pleines  de  pompe  et  de  msts  et  d'honneurs, 

Qui  desdaigneux,  de  cent  viandes  changent 

Sans  aucun  goust,  car  sans  goust  ils  lee  mangent . '!ltl569)°° 

"Mon  Dieu!  que  de  douceur,  que  d'aise  et  de  plaisir 
L'ame  re9oit  alors  qu'elle  se  sent  saisir 
Et  du  geste  et  du  son,  et  de  la  voix  ensemble 
Que  ton  Ferabosco  sur  trois  lyres  assemble, 

Quand  les  trois  Apollons  chantant  divinement, 

Et  mariant  la  lyre  a la  voix  doucement. 

Tout  d'un  coup  de  la  voix  et  de  la  main  agile 
Refont  mourir  Didon  par  les  vers  de  Vergile, " (1559)°' 

"Puis  resveille  ma  guiterre  je  touche, 

Et  m'adossant  centre  une  vieille  souche, 

Je  dy  les  vers  que  Tityre  chantoit 
Quand  pres  d’ Auguste  encores  il  n’estoit, 

Et  qu'il  pleuroit  au  Mantouan  rivage, 

Desja  barbu  son  desert  heritagell  (1554)  °° 


He  is  prone  to  compare  himself  to  Virgil,  the  king  to 
Augustus,  and  one  of  several  prominent  courtiers  to  Maecenas: 


||Lau.,II,  30. 

^Lau. , V,  79-80.  Of.  Geor.  . IV,  125-146. 


67 


Lau. , IV,  240-241.  Ferabosco  was  a court  musician  and  singer. 

Tityrus  stands  for  Virgil,  as  in 
in  the  ninth  Eologue^aSfe®  Menalque,  who  represents  Virgil 


.’.CwU  . ..  ' 

;.  . -r%  -.-i  oe."  .' 


. '■•r 


-.li  'tns  '^aj^oTci 


r .-.1 


e6^-a*s 


yp  noti^S^J®  ^^''■ 

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, c i'-j.-:ex?iD ..  -•■-  '-i  iP  'lua  03' vci,:^  •'?  go^  ■ .'0 

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.■..;:-.;.tCviq-  . — ■ .^..--.j.:,-  ....  .■  , xiPnx:*'  caP  xtx 

^ • ••  — xr  - T.- ■ ■ , 


23 


"Ainsl  le  grand  Auguste  escrivoit  a Virgile:  ^ 

Virgile  qui  1' esprit  de  son  maistre  suivoit, 

Pour  luy  donner  plaisir  luy  contre-rescrivoitr (l575)°®  I 

I 

"Mon  Odet  ....  i 

qui  moins  envers  moy  ne  te  montres  humain, 

Que  feist  envers  Maro  ce  Mecenas  Romaini’(l555)'70 

"S’il  est  vray  que  je  chante  aussi  bien  que  Tityrel*  (1560)’^^  | 
After  death  he  will  take  a place  beside  Virgil  and  Homer:  i 

"Entre  Homere  et  Virgile,  ainsi  qu'un  demi-Dieu, 

Environn6  d’esprits  j'ay  ma  place  au  milieu ,*'(1560) *^2 

He  deems  himself  as  capable  as  Virgil  to  bring  about  immortality 

by  his  verses: 

"N'as-tu  ouy  parler  d'Enee, 

D’Achil,  d'Ajax,  d’Idomenee? 

A moy  semblables  artisans 

Ont  immortalize  leur  gloire, " (1550) 

"Et  le  fils  de  Cesar  se  servoit  de  Virgiler (1578)74 

In  the  following  there  are  allusions  to  verses  of  Virgil: 

"En  nul  endroit,  comme  a chants. Virgile, 

La  foy  n'est  seure" . . . . (l552)^° 


69Lau.,III,  180.  The  date,  as  the  others  indicated  after  quotations 
is  that  of  first  publication,  for  the  verses  were  written  before 
1574,  the  date  of  (3iarles  IX*  s death. 

70 

Lau.,  VI,  258.  Ronsard‘s  benefactors  are  very  often  compared  tc 
Maecenas;  Cf.  Lau.,  II,  308;  IV,  244,  246;  V,  51,  145,  150,  157; 
VI,  259,  262,  etc.  The  bounty  of  Augustus  himself  to  Virgil  is 
mentioned  in  Lau.,  II,  183. 

"^^Lau.,!!!,  434;  from  Eglogue  IV.  The  words  are  addressed  by  Perrot 
(Ronsard)  to  Bellot  (Du  Bellay) . 

?2Lau.,  V,  365. 

73Lau.,  II,  166, 

74Lau.,  II,  2. 

'^Lau.,  I,  91.  Cf.  Aen. . IV,  373. 


24. 


"Ox  si  a Vargile  on  veut  croire. 

On  n'acquiert  pas  petite  gloire 
A traiter  bien  un  oeuvre  bae:"(l554) 

" aux  bords  de  Sicile 

Enee  en  de corant  son  pare  de  tournois, 

Feit  sauter  les  Troyens  au  branla  du  hamois, 

Ou  les  jeunes  enfans  en  cent  inille  manieres 
Meslerent  les  replis  de  leurs  courses  guerr ieres.’’'^'?' 

Towards  the  end  of  his  life  he  still  respected  Virgil  and 
grieved  to  see  him  misunderstood  by  the  poets  of  the  new  generation: 

”Homere  de  science  et  de  nom  illustre, 

Et  le  Remain  Virgile  assez  nous  ont  monstre 
Comment,  et  par  quel  art,  et  par  quelle  pratique 

II  falloit  composer  un  ouvrage  Heroique,  

J’ai  suyvi  leur  patron:  a genous.  Franc iade. 

Adore  I’AEneide,  adore  1‘  Iliade:"  (l587)'o 

"Homere,  qui  servit  aux  neuf  Muses  de  guide, 

S'il  voyoit  aujourd’huy  son  vaillant  Eacide, 

Ne  la  cognoistroit  plus,  ny  le  docte  Maron 
Son  Phrygien  En^e:"  (1587)^® 

" leur  (des  poetes)  ame  est  si  tres  affamee. 

Qua  si  Virgile  esclairoit  a leurs  yeux,  q 

II  leur  seroit  je  m‘asseure  ennuyeux. . . . " (1587)°^ 

'^^Lau.,  VI,  219,  Cf.  Geor. . IV,  6-7. 

7gLau.,  Ill,  506,7.  Cf.  A^. , V,  545  ff. 


Lau,,  VI,  1 


■^^Lau.,  VI,  24. 

80 

Lau.,  VI,  63.  Virgil  is  also  mentioned  in  the  poems  in  Lau., Ill, 
315;  Vi,  441,  458;  and  VII,  377,  and  under  the  name  "autheur 
Aenien"  in  II,  183.  He  is  also  referred  to  as  tha"auteur  de  la 
belle  Aeneide”  in  Lau.,  VIII,  71;  and  in  V,  421  it  is  probably 
Virgil  who  is  meant  by  "celuy  qui  fist  direl  Les  Chansons  des 
Gregeois  a sa  Romaine  lyre."  It  must  be  admitted,  however,  that 
there  are  surprisingly  few  allusions  to  Virgil's  characters.  Home 
and  the  characters  of  the  Iliad  and  Odyssey  are  mentioned  far  more 
frequently,  but  the  use  of  Homeric  characters  may  be  partially  due 
to  modelling  after  Virgil,  who  continually  refers  to  them  in  the 
Aeneid.  Ronsard  in  speaking  of  heroes  of  epics  says  that  they 
should  be  already  well  known  and  cites  Virgil  as  one  who  followed 
this  plan,  '^Comme  Virgile  ^sur  la  commune  renommee,  qu'un  certain 
Troyen  nomme  Aenee,  chante  par  Homere, est  venu  aux  bors  Laviniens 

"(Cf.  Lau,, VI I,  84,69,  and  note  39  above.)  Ronsard  also 

wished  to  appear  more  learned  by  mentioning  Greeks  who  were  not  so 
well  known  to  the  majority  as  the  Latin  heroes,  witness  his 


r 


J-I56V  .'!p  Jt  U lO” 

6 lie..:.  s-;-i  « iC'iuj'C/. ' '^'  aO 

(■•l'5ex)^:  &I  eavtfeo  ax,  .‘\^. 


©Xi^,--6  aii  Bttod  Xu .' 

, n ti:  exeq  nc^  t/\/.icc^t±Dv  « uJ 

,r-x  ufL  eXnf^'tcf  xx  -;iio\oiT  as  I x -t  ^ a“ 

C'XXiri  jr.fiS;  ne  ani'i  "is  atai/ot  i ^ 

''  ".JiS'i.'vill!iD7'  r&feT'rOX  .‘IXf:!  Of-  Oil-icT  BSJ 


f ins 


t * 


:i?'i^V  ’-_vrt  :^i:ax  XI. s*.,  srf  Ciii.  airi  lo  ba9  ont  alJU^oT 

s-  '’••< 

s'ii>nox  T\-aix  7:X;+  iC  eilj  i*oo^*-  xt»i;jni/tJi ri:  u^ii'eoo  or  tovoiis 


u:?j  fit  ?s  or>noxce  o£;  eTssoH® 
6 ?■;■  fi  '1  >C3  r ii  .3  ^ uc  a t;  ' ; s I i s " 1 n i .'./joS  s X ? 3 

©up-  i?  ?-iq  , 7.1-  • Csxp  ^SiioxisoO 

^s:.,.IuXw4-  iv'-'.j  p.L'  leaoq.rroo  r-OxX^l  XI 

. -w.:X:TT[  1 : ;:ga5 -q . -.r/o  C ivvt;e  -'X. 

o^(Tbex)  '’:e:.:Xrt-'X  ,ox!i6r-.:X.J  X 


iC  «a  i-GCG... 

, cl  io 

■'vji  ij  a B ••■  X j-  c.  V 

a3c> 

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JlfUiA''  ’ X 

09 


,K  JEl  U:b'-V  ,IV  ,.rj5i 

IIV  :3CX  ,X.  ;r  , IV  :51€ 


;.  oL  c:fcV i/^'’oru'  c?.-  cj  oy.tvj  ai  oH  . '-.'X  ,II  aX  ^nalnok 

,;IXrc.viv;  rl  ri  IX'^  .V  ni  lea.  ;XV  .IIIV  *.  * “ohianoA  ©XXod 

a&r.  »r;X  ir/"rM-  lap  *Ci-'X®y’’  Xaifcgc?  ai  Oii«  Lis'iiV 

oP  rl  ‘V-cX^X  i>'i  s aioa^ozO 

•temoH  . 4CJX-L7.'.  i'  ' iij'ij; V or  Br.cX,  ile  vtcO  Yix-.''X' 6'ijs  ©loil? 
i^'-'i-jfi'  Xj  i i>fni 0 i J w -c  S'la  f'Cjt  l.r'l  Jr  dnV  Xo  a'no^ o*3'ii'do  siiJ  OftA 

Idoo  vXXf-X^  axoror**!^^:;  Ox’ioecoH  X:o  ©ax/  eni  JL*cf  , YlJKOi'poa’i 

e^i.^  ni  r-v.-rfr  :•<:  O'ift'ioa  y I Irani?  no  o odv  ^Xi'.'-iiV  :ts?1b  i^XXXofeOfK  o? 


b-;.*.;  aoiqo  lo  csoierf  Ic  ii’0.:3i8?q2  .0l  rarBUcfi 


t - ; ^ -.S  » 

lev.aji.y'!:  oa‘.'  eao  ar  il^^AiiV  eoX'io  n’corai  tXs--  yaroi-tx;  ftd  x>X^ri« 

;a;'ao  . as/iUttonoa  ofmetutoo  oi  ’i:k  v.Xl37iV  O(?ao0"  t.i=cX'i  ^Xd? 

^ . . , . *_.  -s ._»T?  «■  . \-f.r  /'••/'  n«r«tt ’’  A.n-rnrr  rtftvrirlT 

' iiXXcjfjaotii  (.Gvoefr  g?og -iar  ,53<X-8  * 


o:  X^  rijicao-i  (.ovodr  g?og -iar  ,53<X-8  * ilXt  ' 

c ? jfl  • 'c-v  orv,  fiit‘©'iO  ^ciGOi? ns.'s  yd  JboaiBaiX  .eaaM  -iBsqq^  o? 

• __■ :;  - -cast  Iiew 

_ - - jg*-  -' 


^^'scxec  ai?rX ''ad?  sts  yjJ:iot-b3i  ©d?  o-j  awcasi 


25. 


Whenever  he  was  in  Paris  during  these  last  years  of  his 
life,  he  stayed  at  the  College  de  Boncourt,  of  which  Galland  was 
director.  There  he  was  not  far  from  the  homes  of  his  friends, 

Ba'if  and  Dorat,  where  he  met  other  poets.  He  loved  the  atmosphere 
of  this  neighborhood  and  especially  that  of  the  college,  which  had 
witnessed  the  first  success  of  his  colleague  Jodelle.  With  charm- 
ing simplicity  he  took  his  meals  with  the  students  and  gave  them  ad- 
vice in  their  efforts  to  write  poetry.  He  taught  them  love  of  the 
French  language  and  his  own  theories  of  verse,  and  in  his  walks 
through  the  gardens  and  \inder  the  trees  of  the  court,  he  astounded 

them  by  improvising  beautiful  translations,  verse  for  verse,  of 

81 

bits  of  Uirgil  and  Horace. 


( CSontinued) 

change  of  "Tergile"  to  "Homere"  in  Lau.^VII,  280.  Instances  of 
the  mention  of  ^irgilian  characters  aside  from  those  already  cit- 
ed are:  Anchises,  Lau.,  I,  197,  286;  IV,  37,  116;  Dido,  I,  36S.  j 

81  Cf.  Lau.,  VIII,  259  and  Nolhac,  on.  cit..  236-239,  who  base 

their  statements  on  two  funeral  orations  for  Ronsard  by  G.  Crich- 
ton (Laudatio  funebris  ....  f ol . 10)  and  J.  Velliard  ( Lauda tio 
funebris  fol,  16)  and  note  13  above. 


1 


.3w. 


;.i,  ":c  i ^3-ff?  ci-ix^  nX  bu  •I'VBCi&d^ 

■j  &ijr  lo  ,^’2U0CiU'^S  t;*’  fi^v'.iloC-  bovi'oii  few  te*i.X 

i-  ,6>r.irL*^  e^-S  lo  Q^-’^cd  flfc'i  x cfoh  . -OiC^XXb 

■i  a-T-:.’ t-'s -i-..‘ •-  Vivol  pH  ed 

i xut.r:  li-Inw  ..^.iilX'Oo  t;J.t  li'  J/?/::  YXIjilceqae  i;oof'.qod;^.itM:  ^tdc  ^lO 

I _r,''i.'ific  d:  .^IXc:X*oL  Oir..,;.s  £Xod  lO  «.3^orr  i -r^TX^  fceaal^Jilxv 

'’‘-"i  ovx-c  tffUi  feil<r  dsX-/  aX£e;-2'old  dao?  eiT\;J  i?  i rqjcie  ^rri 

43V.^J:  rviy.w  . •i'XJ-feOq  : -'■'■■*'ic:  zl^iSS  nl  dCiV 

r,:ir-^  „ir.  *il  'ro  a'c^.  loa:'.’’  nro  'Jid  ~*Ti  rf^nei'^ 

ijii  , V*  ^ro;.  ^i;i^  5o  d^x/oTil^ 


I 


Vc^'isv  z-^>  •s&iy.T  XSiiv'X^r .2X4X1.  ^m^  lvo'iqpi  \d  mdt 


“1 

•f .' 


V 

a/b- 

(>3ojJX2ivaaO  )^ 

^0  A.&oxu^.xxxl  . 08S-a2'-'.-  -^  **-  *V3iPJ*ror:«  ^5^  lo  C'^^0 

-.ri;;  VI.  l£  ■ a|!.  .::  .v.o'Xi  ci&avx.:-x.-,xio  r.xall^il?  to  r:oX^*.s';j^8n;J 

,cSiCI  ^ax.r  ,T3  , ;i  .vex  ,1  t,--'.!  ,aoe*do£iA  raXi  X>o 

oti7,  ,$f/a--cCS  I . .jiiil  tOJSifrv5*I  i-xm  ^IIIV  ^ I ."0 
-rio.-.:..  . •I'.’:  4;roi’*iiTC  Xx."iaxii»'i  .3'  z*3^* Je-*a 

o:.r  :...-  J)  t*ii-iXXe^  X.rij5  (DI  . ‘ X . . . . jiu^l^xa)  xXO^ 


V - t. . 


Bl*:dapyt 


'■:..«L  T‘f  iureg 


26. 


PART  II 


IMITATION 


Ronsard  began  writing  poetry  and  also  imitation  of  Virgil 
at  a very  early  age: 

"Je  n‘avois  pas  douze  ans  qu'au  profond  des  vallees^... 

Sans  avoir  soin  de  rien  je  oomposois  des  vers,"l 

Such  are  the  words  which  Ronsard  wrote  in  his  Discours  a ^ L’Escot , 


Seigneur  de  Glanv  (1560),  and  although  they  may  give  his  age  as  a 
trifle  too  young,  they  are  at  least  approximately  true.  His  early 
efforts,  however,  were  not  in  French,  but  in  Latin: 

"Je  fu  premierement  curieux  du  Latin". ^ 

These  Latin  works  have  been  lost,  but  that  there  was  some  imita- 
tion of  Virgil  in  them  may  be  seen  in  such  a remark  as, 

"Si  autre-fois  sous  1 ’ombre  Gastine 
Avons  joue  quelque  chanson  Latine 
D'Amarille  enamoure,  ^ 

In  other  words,  Ronsard  under  the  influence  of  his  beauti- 
ful sylvan  surroundings  wrote  eclogues  in  imitation  of  Virgil.  How 
numerous  or  how  close  to  Virgil  the  imitations  were, we  shall  probablj” 
never  know. 

iLau.,  V,  176;  Bl.,  VI,  191. 

‘^Lau. , V,  177,  Bl.,  VI,  191.  Binet  (ed.  of  Lau.,  49)^  testifies  to 
this:  "En  sa  premiere  jeunesse  il  s'estoit  addonn^  a la  Muse 

latine,  et  de  fait  nous  avons  veu  quelques  vers  latins  de  sa  facon 
assez.  passables,  " ^ 

3 

Lau.,  VI,  130,  Bl . , II,  394.  In  later  editions  the  Virgil  ian  name 
"Amarille"  is  changed  to  "Cassandre" .Bonsard  could  not  have  taken 
the  name  from  Theocritus,  since  he  did  not  know  Greek  at  this  time. 


s 


1?::. 


( 


:';V  s?  ; ui.  .'•iOS  Ti:^:>vi'- 

u’i;:'.c8;'’  '.:  ’ tz2  s&c-^v  bXjr*tnoH  4nldVf:  ^bicnr^^t  O'lj^  rft<«S 


i £tj  Ln 

:i;  j ? i:  £--?:!  ,•  ':ili ;■  1 -i *8-ije I vV 
raioi*ti  ni  *'j- 

*.  *’nx^  at  Xif&X’ltfD  J 


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rrt* 

ri^  ^'^»ar 

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1 'iev^‘'u»d 

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;;e.uft'4»iiR'f':r  iu  cL*’  . 


-iK)’ i Sij'ff  ?gx’?  *i/d  ^VJ□^  a^fTov'  Gi;r^^  •y.SSitfT 

‘l  i’X.iiiiso'i  -V.  i(c>i/e  ni  a&ce  .oc  •;--‘Vti  are^i.?  .''i  J.l^'j.iV  to  ni>t7 

'!  i>  n i : it  •®.  r ; .'■j  'I  ‘-.it  op.  a i ol  - r- 1;)  j^r  i2  " , 

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27. 


POEMS  PUBLISHED  BEFORE  OR  DURING  THE  YEAR  1550 

In  the  first  of  Ronsard's  odes  written  in  French  and  pri- 
marily ini^  ired  by  Horace,  there  are  many  reminiscences  of  Virgil,  j 
but  since  the  chronological  order  of  these  odes  is  uncertain  be- 
cause of  their  tardy  publication,  we  shall  begin  our  discussion  of 
the  direct  bofrowings  of  Ronsard  from  Virgil  with  the  Hymme  de 

4 

France,  published  in  1549.  This  poem  of  224  lines  is  based  almost 
entirely  on  Virgil's  41  line  eulogy  of  Italy  in  Georgies  II,  136- 
176.  The  first  thirty  lines  appeal  to  his  luth  to  sing  for  the 

pleasure  of  Frenchmen  and  declare  his  intention  of  singing  the 

' 

glory  of  France.  In  this  section  there  are  but  two  Virgil ian  pas- 
sages, a translation  of  a line  of  the  Georgl cei 
"voler  par  les  bouches  des  hommes:"^ 
and  a reminiscence  of  the  Eclogues: 

"Le  sainct  troupeau  des  pucelles  chenues, 

Du  hault  du  ciel  en  terre  revenues, 

Regne  entre  nous:"  6 

Then  begins  the  actual  eulogy,  as  does  Virgil's,  with  a negative 

statement  that  foreign  lands  and  rivers  cannot  vie  with  France: 

"II  ne  fault  point  que  1 'Arabia  heureuse, 

Ne  par  son  Nil  I'AEgypte  plantureuse, 

Ne  I'Inde  riche  en  mercerie  estrange. 

Face  a la  tienne  egale  sa  louange." 


"^As  mentioned  above  (Part  I,  note  45)  it  is  one  of  the  six  poems 
published  before  1549. 

^Lau.,  VI,  79j  Gepr. , III,  9. 

6Lau.,  VIII,  14;  Ec . , IV,  6-7. 


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28. 


"Sed  neque  Medorum  silvae,  ditissima  terra 
heo  pulcher  Ganges  atque  auro  turbidus  Hermus 
laudibus  Italiae  certent,  non  Bactra  neque  Indi 
totaque  turiferis  Panchaia  pinguis  haren/s"^ 


Although 


miel 

le  dculx^ne  pende  aux  arbrisseaux,  .... 

Des  fiars  lyons  la  semenoe  euperbe 

En  est  bien  loing,  et  le  serpent  par  I’herbe, 

Tel  qu’en  I’Affrique,  horrible  n'espovante 

Le  seur  pasteur:  ne  1 'amour  vehemente 

Qui  s'enfle  au  front  du  poulain,  n'y  est  pas 

Mixtionn^e  es  amoureux  apas" . 


"mellaque  deoussit  foliisj’  

"at  rabidae  tigres  absunt'  et  saeva  leonum 
seraina,  neo  miseros  fallunt  aconita  legentis, 
nec  rap it  immensos  orbis  per  humum  neque  tanto 

squameus  in  spiram  traotu  se  colligit  anguis.". 

"quaeritur  et  nascentis  equi  de  fronte  revolsus 
et  matri  praereptus  amor."8 

Four  lines  of  Virgil  beginning  with  a negative  idea  and  ending  with 
an  adversative  clause  are  developed  into  twelve  lines; 


"Ses  champs  Jason  de  ses  taureaux  ardans 
Na  laboura,  pour  y jet ter  dedans 
D*un  grand  serpent  les  macho ires  terribles: 

Ne  la  moisson  de  tant  de  gens  horribles. 

Hors  de  la  terre  a force  deasereez.^ 

S'est  heriss^e  en  corseletz  ferrez.  ^ 

Mai 8 au  contraire,  ils  enfanten-^  un  ble 
Nous  le  rendant  d'usure  redouble: 

Et  dont  jamais  la  premiere  apparence, 

Du  laboureur  n'a  tromp6  I'esperance. 

Plus  qu'en  nul  lieu  dame  Ceres  la  blonde, 

Et  le  donteur  des  Indes  y abunde." 

"haec  loca  non  tauri  spirant es  naribus  ignem 
inverters  satis  immanis  dentibus  hydri 
nec  galeis  densisque  virum  seges  horruit  hast is, 
sed  gravidae  fruges  et  Baochi  Massicus  umor 
i rnpleve  p e."  ^ 


7 

Lau. , VI,  80;  Geor. . II,  136-139. 

SLau.,  VI,  80-81,  Geor. , I,  131  (or  ^.,IV,30);  Geor. .II.  151-154; 
Aen. , IV,  515-516. 

®Lau.,  VI,  81;  Geor. . II,  140-144. 


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29. 


Joyful  flocks  and  olive  trees  grace  France  as  well  as  Italy,  but  it 
takes  many  more  lines  to  describe  them  in  French  than  in  Latin, 
which  fact  is  likewise  the  case  of  the  ” cheval  belliqueur”  describ- 
ed in  eight  lines  in  French  and  one  in  Latin. Virgil's  "ver  as- 
siduum"  is  developed  in  six  lines: 

"Que  dirons-nous  de  la  saison  des  temps? 

Et  des  tiede\irs  du  volaige  Printemps? 

La  cruaut6  des  vents  malic ieux 

N'y  regne  point,  ne  ces  monstres  des  cieux, 

Ny  tout  cela  qui  plein  de  felonnie,  ,, 

Tient  les  sablons  d'Aifrique,  ou  d'Hyrcanie.” 

Francs,  too,  has  minerals,  - gold,  silver,  and  bronze, and,  as  in 

the  Aeneid: 

” Jupiter  a main  gauche  a tonn^. 

Favor isant  le  Francoys,  qu'il  estime 
Enfant  d'Hector,  sa  race  legitime: "^3 

and  just  as  he  promised  Venus  that  her  son  had  a brilliant  future, 

so 

" de  la  hault  nous  a transmis  ses  loix, 

Et  a jur4  de  nous  donner  des  Roys, 

Qui  planteront  le  liz  jusqu'a  la  rive 
Ou  du  soleil  le  long  labeur  arrive. 

In  a rhetorical  question,  as  in  Virgil,  the  lakes  and  seas  are  men- 
tioned: 

"Que  diray  plus  des  lacs  et  des  fontaines, 

Des  bois  tonduz  et  des  forests  haultaines? 

De  ces  deux  mers,  qui  d'un  large  et  grand  tour, 

Vont  presque  France  emmurant  tout  autour? 

Maint  grand  vaisseau,  qui  maint  butin  ameine, 

Parrai  noz  flots  seurement  se  promeine." 

^^Lau.,  VI,  81-83;  Geor. . II,  144-145. 

^^Lau. , VI,  82;  Geor.,  II,  149.  Virgil  does  not  use  a rhetorical 
question  here. 

12Lau.,  VI,  82;  Geor. . II,  165-166. 
l^Lau. , VI,  82;  Aen . , II,  693. 

^^Lau.,  VI,  82;  Aen. . I,  286-388. 


30. 


I 


"an  mare,  quod  supra,  memorem,  quodque  adlult  infra? 
anne  lacus  tantos?  te,  Lari  maxima,  teque, 
fluctibus  at  fremitu  adsurgens  Benaoe  marine? 
an  memorem  portus  "^5 

An  incident  of  nine  lines  inspired  from  auiother  part  of  the 
GeorgicslS  describes  the  bliss  of  the  simple  countryman  who  re- 
spects the  woodland  gods  and  desires  not  great  honors,  but  who 
sings  to  the  lyre  first  brought  to  France  by  Ronsard,^'^  The  cities 


and  fortresses  have  their  place  in  the  Hymne , but  they  are  not  in- 
troduced in  an  imperative  sentence  as  in  Virgil: 

"II  (le  poete)  contera  de  la  France  lesjports, 

Et  les  citez,  les  villes,  et  les  forts. 

Droit  elevans  un  front  audacieux, 

Et  un  sourcil  qui  menace  les  cieux." 

"adde  tot  egregias  urbes  operumque  labor em, 
tot  congesta  manu  praeruptis  oppida  saxis^"18 

but  an  imperative  does  occur  a little  later  based  on  the  same  lines 

of  Virgil: 

"Adjoustez  y tant  de  palais  dorez, 

Tant  de  sommets  de  temples  honnorez, 

Jadis  rochers,  que  la  main  du  macon 
Elaboura  d'ouvraige  et  de  fagon."'^® 

There  are  reminiscences,  of  Tirgil’s  hardworking  country  youth: 

"Le  lent  sommeil,  ne  la  morne  langueur^ 

Ne  rompent  point  des  Jeunes  la  vigueur."*^^ 


of  his  singing  olden  praise  of  art: 

"La  Eoesie  et  la  Musique  soeurs, 

Qui  noz  ennuis  charment  de  leurs  douceurs, 
Y ont  r’aquis  leiirs  louanges  antiques. "21 

15Lau,,  VI,  83,  Geor.  II,  158-161. 
l^Lau.,  VI,  83,  Geor. . II,  490-502. 
l?Lau.,  VIII,  15,  Geor. . Ill,  10-12. 

^^Lau.,  VI,  83-84;  Geor. . II,  155-156  and  161  above. 
I9Lau.,  VI,  84. 

"*^Lau.,  VI,  84;  Geor.  . II,  472. 

2lLau. , VI,  84;  Geor. . II,  174. 


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31 


and  of  the  power  of  work: 

22 

"L'art  donte  tout,  et  la  perseverance." 

Virgil’s  line  about  the  rivers  of  Italy  is  developed  into  six 
verses: 

"Un  million  de  fleuves  vagabons, 

Trainans  leurs  flots  ielicieux  et  bons, 

Leschent  les  murs  de  tant  de  villes  fortes  ^ 

"Dordonne,  Somme,  et  toy  Seine  qui  portes 
Dessus  ton  dos  un  plus  horrible  faix, 

Que  sur  le  tien,  Neptune,  tu  ne  fais." 

23 

"fluminaque  antiques  subterlabentia  muros" 

The  vigorous  race  of  France's  warriors  is  crowned, as  Italy’s  is  by 
Augustus  Caesar,  by  Henry,  whose  conquering  arms  have  already  been 
seen  in  distant  lands. As  Virgil’s  eulogy  closes  with  greetings 
to  Italy,  so  Ronsard’s  poem: 

"Je  te  salue,  6 terre  plantureuse, 

Heureuse  en  peuple,  et  en  Princes  heureuse. 

Moy  ton  Poete,  ayant  premier ^os^ 

Avoir  ton  los  en  rime  compose, 

Je  te  supply,  qu’a  gre  te  eoit  ma  lyre." 

"salve,  magna  parens  frugum,  Saturnia  tellus, 
magna  virum:  tibi  res  antiquae  laudis  et  artis 

ingredior,  sanctos  ausus  recludere  fontis, 

Ascraeumque  cano  Romana  per  oppida  carmen. "^5 

Thus  practically  all  of  the  Latin  eulogy  is  to  be  found  in  the 
Hvmne.  The  ideas  are  not  always  expressed  in  the  same  sequence, 
but  they  are  practically  always  expressed  in  the  same  form.  In  ad- 
dition, there  are,  in  the  lines  not  based  directly  on  the  eulogy, 
frequent  allusions  to  other  parts  of  Virgil. 


23Lau. , VI,  84;  Geor « . I,  145-146 
23Lau.,  VI,  84;  Gflq£.,H,  157. 

24Lau.,  VI,  84-85;  Geor. . II,  167-172. 
25Lau.,  VI,  85;  Geor. . II,  173-176. 


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32. 


With  the  exception  of  the  Avant-entree  du  Rol  treachrestien 
k Paris.  1 'an  1549  (1549)  the  other  five  poems  published  before 
1550  have  scarcely  a trace  of  Virgil. 26  in  the  Avant-entree  there  are 
several  reminiscences,  - the  return  to  earth  of  the  virgin  Astree, 
who  had  abandoned  it;  the  mention  of  Carthage  as  the  seat  of  Juno?*^ 
and  the  lines 

"Et  dedans  toi  (Paris)  les  estrangers  viendront 
Baiser  son  temple  et  leurs  veus  lui  rendront. 

A sa  (du  Roi)  venue  il  semble  que  la  terre 
Tous  ses  tresors  de  son  ventre  deserre, 

Et  que  le  del  ardent ement  admire 

Leurs  grands  beaut^s,  ou  d'enhaut  il  se  mire 

Enamoure,  et  courhe  tout  expres 

Ses  larges  yeus  pour  les  voir  de  plus  pres. 

Telle  saison  le  vieil  age  eprouva 
Quant  le  Chaos  demelle  se  trouva, 

Et  de  son  poix  la  terre  balancee 

Fut  des  longs  doits  d©  Neptune  embrassee, 

Lors  que  le  Ciel  se  voutant  d*\in  grand  tour 
Emraentela  le  monde  tout  autour. 

Ja  du  Soleil  la  tied©  lampe  alume 
Un  autre  jour  plus  beau  que  de  coustume.  2q 

Ja  les  forests  ont  pris  leurs  robes  neuves, . . . . 

While  the  first  four  books  of  the  odes,  published  in  1550, 
are  primarily  imitations  of  Pindar  and  Horace,  Virgil  has  an  im- 
portant place  in  them.  The  first  strophe  of  the  Ode  a Roine 
describing  the  fury  of  a priestess  possessed  by  her  god  is  in  part 


26a  stanza  in  the  Ode  a Peletier  (1547)  mentioning  the  fragrance  of 
Indian  ivory  and  Sabean  flowers  (Lau.,  VI,  72)  may  be  traced  to 
Geqr . , I,  56-57;  or  II,  116-117.  The  beginning  of  the  Fantaisie 
a sa  Dame.  "Il  estoit  nuict,  ..."  etc.,  reminds  one  of  Aen . , IV, 
522;  or  VIII,  26,  and  the  vine  and  elm^and  ivy  and  branches  com- 
bination in  the  Enithalame  (1549)  (Lau.,  II,  312)  of  Eq. , II,  70; 
IV,  19;  or  V,  32. 

27 

Lau.,  VI,  74,  75;  Eq. , IV,  6;  Geor. . II,  474;  Aen. . I,  15. 

28Lau.  VI,  75;  ^. , V,  74,80;  Geor. . I,  42;  Ec.,  IV,  50-52;  VI,  31- 
40;  III,  56,  57. 


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33 


inspired  by  the  description  of  the  Sibyl  in  the  Aeneid  especially 
such  expressions  as  "estomao  ....  pantois  ("pectus  aucihelura")  and  j 

O Q 

"fuyez  peuple"  ("procul  o,  procul  este,  profani").  The  Avant-  ' 
venue  du  Printemps  is  borrowed  largely  from  the  descriptions  of 
spring  in  the  Georgies.  The  constellation  of  the  Bull  is  invoked 
as  the  initiator  of  the  new  season;  and  the  nymphs  of  the  waters  j 
are  begged  to  break  their  icy  bonds  and,  raising  their  heads  above 
the  water,  to  glide  down  the  streams  in  order  that  the  season  may 
be  joyful  at  its  victory  over  stormy  winter. The  tender  plants 

'7T 

dare  to  show  their  green  leaves;'^'^ 

"Jupiter  d' amour  s'enflame,  1 

Et  dans  le  sein  de  sa  femme  | 

Tout  germeux  se  va  lan§ant,  j 

Et  meslant  sa  force  en  elle, 

De  sa  rosee  eternelle 
Va  son  ventre  ensemencant: 

Si  qu’elle  estant  en  gesine 
Respand  sa  charge  divine 
Sur  la  terre,  a celle  fin 
Que  la  terre  mesme  enfante, 

De  peur  que  ce  Tout  ne  sente 
En  ses  membres  quelque  fin." 

"turn  pater  omnipotens  fecundis  imbribus  Aether 
coniugis  in  gremium  laetae  descendit  et  omnis 
magnus  alit  magno  commixtus  corpore  fetus, 
avia  turn  resonant  avibus  virgulta  canoris 
et  Venerem  certis  repetunt  armenta  diebus; 
parturit  almus  ager  Zephyrique  tepentibus  auris 
laxant  arva  sinus; "32 

Love  awakens  all  nature  posing  his  darts  from  his  ear-tip, and 

"Du  grande  air  la  bande  ailee 
De  I'eau  la  troupe  escaillee 
Contrainte  du  dard  veinqueur, 

Ny  dans  1‘eau  ny  par  les  nues 
N'esteint  les  flames  congneues 
De  tous  ceux  qui  ont  un  coeur." 

II,  93;  Aen.  . VI,  45-51,77-80,  255-259. 

II,  171,  172;  Geor. , I,  217,  43-44;  IV,  352;  II,  332-334. 
VII,  243;  Gear. . II,  335. 

II,  172;Geor. , II ,325-331 . The  wording  of  the  original  Ronsaic 
text  imitates  Virgil  a little  more  closely. 


29Lau. , 
30Lau, 
3lLau. , 
32Lau . , 


Lau.,  II,  172;  A^.  , IX,  417. 


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34 


”Omne  adeo  genus  in  ter r is  hominumque  ferarumque, 
et  genus  aequoreum,  pecudes  pictaeque  volucres, 
in  furias  ignemque  ruunt;  amor  omnibus  idem. "34 

Ships,  "laschant  aux  voiles  les  brid0s"S5  start  on  long  journeys. 

"Du  Printemps  la  saison  belle, 

Quand  la  terre  estoit  nouvelle, 

L’an  paisible  conduisoit: 

Du  soleil  qui  nous  esclaire 
La  lamps  eternelle  et  claira 
Tiede  par  tout  reluisoit. 

But  the  jealous  gods  did  not  permit  the  spring  to  be  eternal;  in- 
stead they  caused  it  to  give  place  to  summer  and  winter.  Ware  a- 
rose,  trees  were  hollowed  to  make  ships,  poison  was  mixed  in  wine,- 
everywhere  ills  appeared. From  this  analysis  it  is  apparent 
that  there  is  scarcely  an  idea  in  the  A van t- venue  which  does  not 
have  its  counterpart  in  Virgil. 

In  the  Consolation  a Royne  de  Navarre  on  the  death  of 

her  nephew,  the  Duke  of  Orleans,  which  poem  is  an  imitation  of 

Horace's  ode  to  Virgil  on  the  death  of  Varus,  there  is  a passage  of 

38 

twenty  lines  imitated  from  the  apotheoses  of  Daphnis  and  Caesar, 
but  the  tone  is  different,  being  for  one  thing  more  Christian.  It 
is  really  a contamination  of  Virgil's  ideas  rather  than  a pure 
imitation. 


34hau.,  II,  173;  Geor. . Ill,  242-244. 

35Lau, , II,  173;  Aen. . VI,  1. 

^°Lau. , II,  173;  Geor. . II,  336-342. 

37hau.,  II,  173-174;  Geor. . I,  125-146;  II,  537-539.  Several 

ancient  authors  besides  Virgil  described  the  evils  which  followed 
the  golden  age,  but  it  is  likely  that  Ronsard  had  Virgil  in  mind 
here  since  the  preceding  lines  are  imitated  from  him  . 

^®Lau.,  II,  188;  Ec. , V,  20,  57,  80;  Geor. . I,  24-42, 


I 


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-Ct  ■-  . . 

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.noXdisJlfflti 


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. 4 II  ;CTX  4 II  4. 

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QT 

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35. 


The  Ode  a Guillaume  dee-Autels  in  praise  of  Vendomois,  | 
primarily  Horatian  in  Inspiration,  has  a number  of  Virgilian 
touches.  ”Minoius”  might  be  substituted  for  "Loir"  in  one  stanza: 

"Le  Loir  tard  a la  fuite  | 

En  soy  s' esbanoyant, 

D'eau  lentement  oonduite 
Tes  champs  va  tournoyant ; " 

the  beginning  of  the  eulogy  of  Italy  and  the  flight  of  Justice 
from  earth  are  recalled  in  others: 

•'L'lnde  pourtant  ne  pense 

Te  veincre,  oar  les  Dieux 
D'une  autre  recompense 
Te  fortunent  bien  mieux. 

La  Justice  grand  'erre 
S'enfuyant  d'ici  bas, 

Imprima  sur  ta  terre 
Le  dernier  de  ses  pas: 

Et  s' encore  a oeste  heure 
De  1 'antique  saison 
Quelque  vertu  demeure 
Tu  es  bien  ea  maison."^ 

The  theme  of  the  ode  against  the  sorceress  Denise  may  be 
taken  from  Horace's  epodes  against  Canidia,  but  there  are  Virgilian 
ideas  and  expressions  in  nine  out  of  fifteen  stanzas.  The  "Terre  i 
mere"  ("Terra  parens")  ...."bruslez  du  feu  des  Cieux  "("ira  in- 
ritata  deorum")  brought  forth  the  sorceressa  huge  monster  (laschant 

a peine"  - "ingens"),  to  spite  the  gods.^^  This  creature  like 

the  "novercae"  knows  the  season  when  the  "virus"  of  mares  ("les 
fleurs  des  femmes")  is  best  for  love  philtres,  and  gathers  herbs  on 
lonely  nights  with  "une  serpe  d'airain"  (falcibus  . . . .aenis) .42 


39hau. , II,  2©6-206;  Geor. .Ill . 14.  The  passages  of  the  poem  imita- 
ted from  Horace  are  inspired  by  Carmina  I, XVII, 13ff; XXXI, 6-8;  II, 
^III  end,  VI  end. 

^Lau.,  II,  206;  Geor. . II,  138;  473-474. 

4lLau.,  II,  207;  Aen. . IV,  178-181. 

42Lau.,  II,  208;  Geor.  . Ill,  281-282;  ^. , IV,  513. 


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36. 


Like  Moeris  she  can  change  herself  into  a wild  stnimal  or  call 

I 

spirits  from  their  sepulchres:  ! 

"Voilant  ton  execrable  teste 

De  la  peau  d’une  estrange  beste 

Et  par  I'horreur  des  cimetaires  

Au  son  des  vers  que  tu  murmur es  | 

Les  corps  des  morts  tu  des-emmures 

De  leurs  tombeaux  reolus."43  I 

i 

At  the  coming  of  the  sorceress,  in  fright 

i 

”Les  fleuves  contremont  recullent, 

Et  les  fiers  loups  par  bandes  hullent 
Dedans  I'obscur  des  bois."^^ 

She  can  enchant  the  moon,  and  with  her  evil  eye  bewitches  the 
flocks  in  the  fields. In  horror  at  her  deeds,  like  Priam  at 
Pyrrhus,  the  poet  prays  for  her  death, 

"Dieuxj  si  la  haut  pi  tie  demeure,  ...." 

"Di,  si  qua  est  caelo  pietas, . . . . 

The  ode  entitled  Peintures  d*un  Pavsage  might  well  be  call- 
ed Peintures  de  Virgile.  for  it  is  composed  almost  entirely  of 
scenes  imitated  from  ¥irgil.  The  first  picture,  of  four  stanzas,  is 
that  of  the  Cyclops  at  work  under  Mt.  Aetna.  The  following  part 
of  it  is  a free  translation  of  passages  in  the  Aeneid  and  Greorgics: 

"Ou  touts  I'engence  enfrongn^e 
Des  Cyclopes  laborieux, 

Est  a la  forge  embesongnee, 

Qui  d‘un  effort  industrieux 
Haste  un  tonnerre,  armeure  de  la  dextre 
Du  plus  grand  fils  que  Sa turns  ait  fait  naistre. 

^^Lau.,  II,  208,  Ec. , VIII,  97-98. 

44Lau.,  II,  208;  Aen. . VIII,  240;  Geor . . I,  486.  This  is  the  origin- 
al text  as  found  in  the  critical  edition  of  the  Soci6te  des  textes 
frangais  modernes.  Vol.,  I,  240. 

45Lau.,  II,  209;  VIII,  69;  III,  103. 

^Lau. , II,  209;  Aen. . II,  536. 


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37. 


"Trois,  sur  I'enclume  gemissante 
D'ordre  egal  le  vont  martelant, 

Et  d'une  tenaille  plngante 
Tournent  I'ouvrage  estinoelant : 

Vous  les  diriez  qu'ils  ahanent  et  suent, 
Tant  leurs  marteaux  dessus  I'enclume  ruent. 

. En  trois  rayons  de  pluye  torte 
Tout  1©  tonnerre  est  finissant, 

En  trois  de  vent  qui  le  supporte, 

Et  en  trois  de  feu  rougissant: 

Ores  de  peur,  ores  de  bruit,  et  ore 
D'ire  et  d'esclair  on  le  polit  et  dore. 


Le  metal  coule,  et  dedans  la  fournaise 
Comme  un  estang  se  respand  en  la  braise.” 

"Ferrum  exercebant  vasto  Cyclopes  in  antro,... 
his  informa turn  manibus  iam  parte  polita 
fulmen  erat,  toto  genitor  quae  plurima  caelo 
deicit  in  terras,  pars  imperfecta  manebat." 

"....lentis  Cyclopes  fulmina  massis 
cum  properant,  alii  taurinis  follibus  auras 
accipiunt  redduntque,  alii  stridentia  tingunt 
aera  lacu;  gemit  impositis  incudibus  Aetna; 
illi  inter  sese  magna  vi  bracchia  tollunt 
in  numerum,  versantque  tenaci  forcipe  ferrum:" 

"tris  imbris  torti  radios,  tris  nubis  aquosae 
addiderant,  rutili  tris  ignis  et  alitis  Austri. 
fulgores  nunc  terrificos  sonitumque  metumque 
miscebant  operi  flammisque  sequacibus  iras." 

"....fluit  aes  rivis  aurique  metallum 
volnif icusque  chalybs  vasta  fornace  liquescit . 

The  few  remaining  lines  of  the  description  are  a development  of  the 

theme  rather  than  imitation. 

The  second  picture  is  that  of  a sea  storm  and  has  many 

elements  in  common  with  the  storms  of  the  Aeneid: 


Lau.,  VI,  104-105.  The  first  stanza  comes  from  Aen. . VIII,  434, 
436-438,  the  second  from  Geor . . IV,  170-175,  the  third  from  Aen., 
VIII,  439-432  and  the  last  two  lines  from  11.  445-446  of  the  same 
book.  The  Latin  passages  are  quoted  in  this  order. 


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38. 


..  . "pamjr  lee  nues 
Enfl6es  d'un  vague  ondoyant” 

48 

”turbidus  imber  aqua  densisque  nigerrimus  Austris," 

"Le  feu  80  suit,  et  saccageant  l*air,  gronde 
Faisant  trembler  les  fondements  du  monde” 

"Intonuere  poll,  et  crebris  mioat  ignibus  aether,... 
tonitruque  tremescuntilardua  terrarum."^® 

"Un  Pilote  cale  a grand' peine 
Sa  voile  trop  serve  du  vent;" 

"colligere  arma  iubet."^® 

" les  flotz  irez  baignent 

De  monts  bossus  les  cordes  qui  se  plaignent." 


"insequitur  cumulo  praeruptus  aquae  mons  .... 
insequitur  stridorque  rudentum. "51 

"Les  longs  traits  des  flames  grand  erre, 

En  forme  de  lances  errans," 

"ignea  rima  micans  perourrit  lumine  nimbos."^^ 

This  picture  is,  therefore,  not  an  imitation  of  a single  passage, 
but  a series  of  reminiscences. 

Next  to  the  storm^Juno  is  painted  oa;)oling  Jupiter  to  love 
her  again  just  as  Venus  rewins  Vulcan  in  the  Aeneid.^^  Around  her 
are  the  Loves  powerful  over  all  creatures,  - fish,  birds,  beasts. 


and  men,  - even  to  causing  the  death  of  lovers  like  Leander  who 

must  swim  across  the  sea  to  their  sweethearts: 

"Leandre  proye  a la  mer  inhumaine, 

Pendu  aux  flots  no«e  ou  1 ’amour  le  raeine." 


^Lau., 

VI, 

105j 

Aen. . 

V,  696. 

49Lau. , 

VI, 

105; 

Aenl , 

I,  90;  V,  694-. 

^Lau. , 

VI, 

105; 

Aen. , 

V,  15. 

5lLau. , 

VI, 

105; 

Aen. , 

I,  105,  87. 

^^Lau. , 

VI, 

105; 

Aen. . 

VIII,  392. 

53Lau. , 

VI, 

106; 

Aen. , 

VIII,  387  ff. 

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39 


'* abrupt  is  turbata  procell  is 

nocte  natat  caeca  serus  freta."54 

Jupiter,  as  the  Heavens  in  the  Georgies, 

"Baise  sa  femme,  et  sur  I'heure  fait  naistre 
Le  beau  Printemps  saison  du  premier  estre."^^ 

A final  reminiscence  is  in  the  description  of  the  Ocean^ 

"Ou  les  dauphins  aux  doz  courbez  y nouent 
Et  saut elans  k mills  bonds  se  jouent.” 

”va8ti  ....  gens  umida  ponti 
exsultans  rorem  late  dispergit  amarura."56 

In  the  Ode  a Rene  Mac 6 there  is  the  expression  of  humble 
regret  that  the  poet  has  not  been  able  to  sing  an  epic  for  Mace, 
but  also  of  hope  that  even  simple  verses  may  add  a little  to  Mace’s 
glory.  So  in  the  sixth  Eclogue  Virgil  addresses  a lowly  lay  to 
Varus  since  he  cannot  sing  of  kings  and  battles.  The  last  two 
stanzas  are  imitated  from  the  Georgies: 

"Ils  (raes  vers)  chanteront  a noz  neveux 
Conme  tu  alias  aux  montagnes 
D ’Helicon,  voir  les  Soeurs  compagnes 
Et  Apollon  aux  beaux  cheveux*. 

Et  comme  la  charmante  vois 
De  tes  douces  et  braves  rimes 
Les  for§a  de  quiter  leurs  cimes 
Pour  habiter  le  Vandomois,” 

”Primus  ego  in  patriam  mecum,  raodo  vita  super sit, 

Aonio  rediens  deducam  vert ice  Musas; 

Primus  Idumaeas  referam  tibi,  Mantua  palmas."58 

The  Ode  a Charles  de  Pisseleu  on  the  various  pursuits  of 
mankind  mentions  some  of  the  same  characters  that  are  set  in  con- 
trast to  the  laboriois  farmer  in  the  Georgies.  The  laborious  farmer 


S^Lau. , VI,  106)  Geor. . Ill,  243-243,  259-263. 
55Lau,,  VI,  106,  Geor. . II,  326-327. 

°®Lau.,  VI,  106;  Geor. . IV,  430-431. 

°aau.,  VI,  108;  Ec. , VI,  3-10. 

^®Lau.,  VI,  108;  Geor. . Ill,  10-12. 


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40. 


himself  has  a stanza  devoted  to  him: 

"L’un  asloigne  des  foudres  de  la  guerre 
Veut  par  les  champs  son  age  consumer 
A bien  poitrir  les  mottes  de  sa  terre 
Pour  de  GotSb  les  presens  y semer:59 

i 

The  Warriors,  who  "ardant  aiment  les:  arms  "("ruuntque  in  ferrum”); 
the  sailor  who  in  Ronsard  is  also  the  greedy  seeker  of  gold;  the 

I 

public  speaker;  the  popular  statesman: 

"L'autro  plus  sain  ne  met  1 'esprit,  sinon 
Au  bien  public,  aux  choses  d' importance, 

Cherchant  par  peine  un  perdurable  nomi! 

” hunc  plausus  hiantem 

per  cuneos  geminatus  enim  plebisque  patrumque 
corripuit " 

the  courtier: 

"L'un  suit  la  court  et  les  faveurs  ensemble"  ' 

"penetrant  aulas  et  limina  regum " j 

I 

and  the  exile,  who  by  Ronsard  is  called  the  pilgrim,  are  found  in 
both  authors.^ 

Another  ode  about  one  of  the  seasons,  the  Ode  de  1 * Este . 
has  its  origin  in  the  Georgies . alth®M/hit  is  so  cleverly  arranged^ 
and  filled  with  incidents  gained  in  part  from  observations  in 
Vendomois,  that  it  cannot  be  called  a paraphrase  of  Virgil.®^  In 
the  two  opening  stanzas  describing  the  intense  heat  there  are 
parallels  for  practically  every  idea  in  passages  of  the  Georgies: 


59Lau.,  II,  287;  Geor. . II,  513-518. 

60 All  of  these  quotations  from  Ronsard  are  in  Lau. , II,  287  and 
those  from  Vdrgil  in  Geor. . II,  503-512. 

^^Laumonier  in  his  Ronsard  poete  Ivrigue . pp.  439-440  discusses  the 
originality  of  Ronsard  in  this  poem,  but  the  numerous  allusions 
to  Virgil  make  it  impossible  to  deny  its  primary  inspiration  to 
the  Latin  poet.  If  it^^not  a translation  or  paraphrase,  it  is 
certainly  an  imitation. 


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.0 


41. 


A "Desja  les  grands  chaleurs  s ' esmeuvent , 

B Et  taris  les  fleuvas  ne  peuvent 
Leurs  peuples  esoaillez  couvrir: 

C Ja  voit  on  la  plains  alter^e 
Par  la  grande  torche  ether^e 
De  Boif  se  lascher  et  s'ouvrir. 

D L 'estincelante  Canioule, 

Qui  ard,  qui  ouist,  qiii  boust,  qui  brule, 

L'ardeur  nous  lance  de  la  haut, 

E Et  le  Soleil  qui  se  promeine 
F Par  le  bras  du  Canore,  rameine 

Tels  jours  recuits  d' extreme  chaud." 

D ”iara  rapidus  torrens  sitiantis  Sirius  Indos 
AE  ardebat  caelo,  et  medium  sol  igneus  orbem 
B hauserat;  ardebant  herbae,  et  cava  flumina  siccis 
faucibus  ad  limum  radii  tapefacta  coquebant , . . . . 

CD  ubi  hii(ic3a  siti  findit  Canis  aestifer  arva 

F iara  bracchia  contrahit  ardens  Scorpios.”  62 

In  the  noon  heat  the  farmers  are  cutting  Ceres'  grain,  or  as  Virgil 

says: 

"rubicunda  Ceres  medio  succiditur  aestu,"63 

while  their  wives  prepare  to  bring  them  refreshing  food: 

"Ce-pendant  leurs  femmes  sont  prestes 

D'asseurer  au  haut  de  leurs  testes 
Des  plats  de  bois,  et  des  baris, 

Et  filant,  marchent  par  la  plaine 
Pour  aller  soulager  la  peine 
De  leurs  laborieux  maris.” 

”Thestylis  et  rapido  fessis  messoribus  aestu 
alia  serpullumque  herbas  contundit  olentis."®'^ 

Then  the  early  morning  activities  of  the  shepherd  are  taken  up: 

"Si  tost  ne  s'eveille  I'Aurore, 

Que  le  pasteur  ne  soit  encore 
Plustost  leve  qu'elle,  et  alors 
Au  son  de  la  come  resveille 
Son  troupeau  qui  encor  sorameille 
Dessus  la  fraische  herbe  dehors." 

62Lau.,  II,  272j  Geor. . IV,  425-428;  II,  353;  I,  34-35.  The  capi- 
tal letters  indicate  the  order  of  the  ideas.  A change  of  the 
constellation  from  Scorpio  to  Cancer  is  to  be  noted. 

^^Lau.,  II,  272;  Geor. . I,  297. 

®^Lau.,  II,  272;  Eo^,  II,  10,  11. 


^ voX  ^ 

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.0-  ..net'll  j.i.iT:;noo  .-tACG.-'ic  .nri  ^ 

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42. 


"Luciferi  prime  cum  sidere  frigila  rura 
carpamus,  duin  mane  novum,  dura  gramina  oanent^ 
et  ros  in  tenera  pecori  gratissimus  herba.”6b  | 

i 

and  are  followed  by  a description  of  the  flocks  in  the  meadows  and  ! 

I 

"par  les  bois,  par  les  rives  vertes"_,  S 

"ourrentera  il ignis.. canal ibus  undam," ... | 
where  the  "troupeaux  lascifs"  ("lasciva  capella")67  gambol. 

"Mais  quand  en  sa  distance  egale 
Est  le  Soleil  et  la  Cigale 
Espand  I'enroue  de  sa  voix, 

Et  que  nul  Zephyre  n'haleine 

Tant  soit  peu  les  fleurs  en  la  plaine,  | 

Ne  la  teste  ombreuse  des  bois:"  | 

"At  ....  raucis  ....  i 

5sole  sub  ardenti  resonant  arbusta  cicadis  ....  | 

inde  ubi  quarta  sitim  caeli  collegerit  hora  ' 

et  cantu  querulae  rumpent  arbusta  cicadas, "68  | 

"Adonc  le  pasteur  entrelace  i 

Ses  paniers  de  torce  pelace,..." 

"Quin  tu  aliquid  .... 

virainibus  mollique  paras  detexere  iunco? 

dum  sedet  et  gracili  fiscellam  texit  hibisco."®^ 

Or  like  a fish  the  shepherd  swims 

"Et  avec  les  ondes  se  ;Joue".'^6  I 

In  the  hot  summer  it  was,  that  the  Virgin  left  the  earth  to  become  i 
a constellation  in  the  heavens. At  this  season  the  bulls  under  | 

i 

the  oak  trees  languish 


65Lau.,  II,  273;  Geor. . Ill,  324-326. 

66Lau.,  II,  273;  Geor. . Ill,  330. 

67Lau.,  II,  273;  Ec . , II,  63. 

^Lau.,  II,  273;  , II,  12-13;  Geor.  . Ill,  327-328. 

69Lau.,  II,  273;  Ec . , II,  71-72;  X,  71. 

OLau. , II,  273;  Geor . , IV, 430-431  where  the  fish  are  described  in 
the  heat  of  day.  Of.  Note  56. 

'^'^Lau.  , II,  273-274;  Geor. . I,  33;  II,  473-474. 


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i^Vi'-xv«»  ,ii  ,.’i/BiiX' 


"Au  piteux  cri  continual 
Da  la  ganioe  qui  lamenta 
L' ingrate  amour  dont  la  tourmente 
Par  las  bois  son  toreau  cruel. 


All  day  the  shepherd,  like  Corydon,  sings  in  order  to  "soulager  son 


mal"73  and  then  in  taking  care  of  the  flock  he  follows  the  actions 


of  the  shepherd  in  the  third  Georgio: 

"Et  lors  de  toutes  parts  r' assemble 
Sa  troupe  vagabonds  ensemble, 

Et  la  convoye  aux  douces  eaux, 

Qui  sobre  en  les  beuvant  ne  touche 
^ns  plus  qua  du  haut  de  la  bouche 
Le  premier  front  des  plains  ruisseaux. 

Puis  au  son  des  douces  musettes 
March ent  les  troupes  camusettes 
Pour  aller  trouver  le  sejour, 

Ou  les  aspres  chaleurs  de50ivent 
Par  un  dormir  qu'elles  re90ivent 
Lentement  jusqu  'au  poinot  du  jour. "74 

So  ends  the  Ode  of  Summer,  which,  although  it  is  not  an  imitation 

of  a continuous  passage  of  Virgil,  is  nevertheless  due  to  Virgil ian 


inspiration. 


The  long  ode  on  La  Defloration  de  Lade  contains  a stanza 

wherein  the  poet  laments  his  sad  love  in  a manner  similar  to  Orpheus 

7 R 

in  the  Georgies.  The  flight  of  Jupiter  to  earth  recalls  that  of 
Mercury, 76  ^nd  the  comparison  of  the  swan  to  the  eagle  seizing  a 
snake  which  gleams  in  its  new  skin  has  also  its  parallel  in  the 
Aeneid.'^'^  Other  lines  in  the  poem  such  as  those  about  Leda's  gather 
ing  flowers  and  about  the  paintings  on  her  basket  and  comparisons 


72Lau.,  II,  274;  Geor. . Ill,  212-317;  II,  470. 

73Lau.,  II,  274;  Ec. , II,  67-68. 

*^^Lau. , II,  374;  Geor « . Ill,  329-330,  335-338.  For"troupes  camu- 
settes"  cf.  ^. , X,  7. 

75Lau.,  II,  290  2nd  stanza,  Geor. . IV,  463-465,  506-509. 

76Lau.,  II,  291  last  stanza  and  292  last  four  lines  of  first  stanza; 

Aen. , I,  300;  IV,  245-257. 

77Lau.,  II,  292  1st  stanza;  Aen.,  XI,  751;  II,  473. 


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44. 


like  "plus  blanc  qua  la  laict"  are  in  the  eclogue  style. In  an  j 

invective  Centre  un  qui  lui  deroba  son  Horace  a madness  like  Pen-  ■ 

theus'  and  a fury  pursuing  him  like  Orestes,  a combination  found  in  | 
the  Aeneid.  are  invoked  upon  the  culprit. '<'9  ‘ 

When  Ronsard  was  planning  to  go  to  Italy,  he  wrote  an  Ode 
au  pais  de  Vandomois . wherein  he  naturally  speaks  of  parts  of  Italy 
that  he  expected  to  see.  A number  of  these  places  were  made  famous 
by  Virgil,  and  in  Ronsard  are  described  in  Virgil’s  style.  Italy 
itself  is  called 

" le  pays  enclos 

De  deux  mers,  et  qui  serre  | 

De  Sa turns  les  os. "80  ] 

Virgil's  Mincius  will  be  seen: 

"Je  voirray  le  grand  Mince, 

Le  Mince  tant  cognu,  | 

Et  des  fleuves  le  prince 
Eridan  le  cornu  : . . . 

Et  la  course  erratique 
D'Arethuse,  dont  I'eau 
Fuyant  les  bras  d'Alph^e 
Se  desrobe  a nos  yeux."Sl 

I 

and  Aetna,  the  trophy  of  the  gods,  and  Rome , mistress  of  the  world. | 
The  movement  and  some  of  the  ideas  (freedom  from  fear  of  wars,  sen-  | 
ates,  and  kings)  of  the  last  three  stanzas  are  also  borrowed  from  | 
Virgil. 83 

In  the  latter  part  of  the  ode  De  1 ' election  de  son  sepul-  j 

I 

chre . which  is  a sort  of  continuation  of  the  ode  in  praise  of  Ven-  | 
domois,84  there  are  a number  of  Virgil ian  reminiscences,  - the  envy 


78Lau.,  II,  292,294,391;  , II,  46-48;  III,  36  ff , VIII,  660. 

79Lau.,  VI,  123;  Aen. . IV,  469-473. 

SOLau.,  II,  312;  Geor. . II,  158,  173. 

8lLau.,  II,  313;  Geor. . Ill,  14-15;  I,  482;  IV,  371;  Aen.,  Ill, 
694-696. 

82Lau.,  II,  313-314;  A^. , III,  579;  VI,  781. 

83Lau.,  II,  314-315;  Geonll . 490-498. 

°4See  notes  39  and  40  above. 


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45, 


of  those  seeking  court  honors,  the  magic  art  and  love  potions  of 
lovers,  the  annual  worship  of  a deity  by  shepherds,  milk  offerings, 
and  the  Elysian  fields,  where  kings  are  solicited  by  the  same  cares 
as  they  were  on  earth,  but  live  peacefully  together.®^  At  the  be- 
ginning of  the  poem  the  forests  and  caves  are  addressed  like  the 
trees  in  the  Eclogues. 

Many  of  the  stanzas  of  the  so-called  Ovidlan  Ravisseraent  de 
Oephale  are  borrowed  from  Virgil.  The  poem  opens  with  the  arousing 
of  the  sea  nymphs  by  one  of  their  number  to  begin  work  on  a cloak 
for  the  daughter  of  Neptune,  In  the  Georgies  Gyrene  and  her  sisters 
are  busily  engaged  in  spinning  when  they  are  aroused  by  the  cries  of 
Aristaeus.SV  On  the  cloak  the  nymphs  embroider  a Virgil ian  sea- 
storm: 

"Au  milieu  d'elle  (la  mer)  un  orage 
Mouvoit  ses  flots  d*ire  pleins: 

Palles  du  futur  naufrage 
Les  mariniers  estoient  peints. 

Des^armee  est  leur  navire 

Du  haut  jusqu’au  fondement, 

Ca  et  la  le  vent  la  vire 
Serve  a son  commandement: 

Le  oiel  foudroye,  et  les  flames 
Tombent  d’un  vol  escart^, 

Et  ce  qui  reste  des  rames 
Vont  le chant  de  leur  clarte. 

La  mer  pleine  d‘ incons tance 

Jusqu'  au  ciel  arme  son  eau, 

Et  touts  despite  tance 
Les  flancs  du  veincu  bateau^ 

D'une  Boye  et  noire  et  perse 
Cant  niies  entrelassoient, 

Qui  d’une  longue  traverse 
Tout  le  serein  effagoient: 

Si  que  la  pluye  et  la  gresle, 

Les  vents  et  les  trourbillons 
Se  menacent  pesle  mesle 
Sur  les  humides  sillons: 

85Lau. , II,  316-  8th  and  9th  stanzas,  317  5th,  6th  and  last  stanzas, 
318  1st  stanza  and  VII,  277;  Geor . . 11,499;  Geor . .Ill , 282;  , V, 

79-80,  67;  ^en. , VI,  638-641,  651-655. 

86Lau.,  II,  316;  , V,  21. 

87Lau..  II.  329:  Geor..  IV.  335-344.  _ 


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46. 


"Les  rerapars  des  eaux  bruyantes  ! 

Sembloyent  estre  trop  lavez  ! 

Des  tempestes  aboyantes 
Autour  de  laurs  pieds  cavez. 

Neptune  y fut  paint  luy-mesme 
Brod4  d'or,  qui  du  danger 
Tirant  le  marinier  blesme, 

L'eau  en  I'eau  faisoit  ranger: 

Les  troupes  de  la  mer  grande 
Sont  leur  Prince  environnans, 

Palemon,  Glauque,  at  la  bande 
Des  Tritons  bien  resonnans. 

Luy,  les  brides  abandonne 

A son  char,  si  qu'en  glissant 
Sur  la  mer,  ses  loix  il  donne 
Au  flot  luy  obeyssant: 

Et  se  jouant  des bus  I'onde 

Se  raonstre  seul  gouverneur  i 

Et  Roy  de  I'humide  monde  | 

Qui  s’encline  a son  honneur."88  i 

These  lines  correspond  to  Aen , , I,  87,  91,  92,  the  fear  and  imminent 

I 

death  of  the  sailors;  Aen. . I,  104,  90,  119,  the  breaking  of  the  oars' 
and  the  thunder  and  lightning;  Aen. . I,  84,  V,  693-694,  696;  IV,  161; 
I,  129,  118,  the  high  waves,  black  clouds,  rains_,  winds,  etc. ; Aen.  .1 
124,  142-147,  154-156,  Neptune  and  his  companions  quieting  the  waves. 

After  this  description,  one  of  the  nymphs,  like  Clymene  in 
the  Oeorgics89^  begins  a story,  - the  story  of  Oephalus  and  Aurora, 
in  which  narration  Dido’s  love  affair  with  Aeneas  is  not  forgotten. 
Aurora  is  smitten  with  love  for  Oephalus,  whom  she  sees  while  he  is  j 
gathering  the  last  breath  from  the  lips  of  his  dying  sweetheart  (as  | 
Anna  from  the  dying  Dido).®^  The  mere  sight  of  Oephalus  enflames  ! 

I 

Aurora:  I 

"Ses  mouelles  sont  ja  pleines 
D'un  appetit  desreigle^ 

Et  nourrist  au  fond  des  veines 
Un  feu  d’ amour  aveugle". 

80Lau.,  II,  330-331.  The  paragraph  following  the  quotation  contains 
the  Yirgilian  citations  referred  to  in  the  conclusion. 

89Lau.,  II,  331;  Geor. . IV,  345. 

90Lau.,  II,  333;  Aen. . IV,  684. 


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47. 


est  mollis  flarama  medullas 

interea  et  taciturn  vivit  sub  pectore  volnus.... 
volnus  alit  venis  et  caeco  carpitur  igni.”9'l 


She  begins  to  forget  Tithon,  as  Dido  did  Syohaeus,  and  the  image  of 


the  new  lover  takes  his  place: 

”C0phale  qui  luy  retourne 

En  I'ame  pour  I’offenser, 

Au  plus  haut  sommet  sejowpne 
De  son  malade  penser, 

Et  dedans  I'ame  blessee 
La  fievre  luy  entretient 
Ores  chaude  ores  glac6e. 

Selon  que  I'acces  la  tient." 

"Multa  viri  virtus  animo  multusque  recur sat 
gentis  honos;  haerent  infix!  pectore  voltus  ^ 

verbaque,  nec  placidam  membris  dat  cura  quietem".''^ 


At  night  she  cannot  sleep:  she  mourns  for  the  absent  lover,  whom 


she  hears  in  spite  of  hie  absence: 

”Si  tost  par  la  nuict  venue 

Les  cieux  ne  sont  obscarcis, 
Qu'elle  couche  a terre  nue 
Sans  abaieser  les  sourcis: 

Car  1' amour  qui  1 ' eguillonne, 
Ne  souffre  que  le  dormir 
En  proye  a ses  yeux  se  donne: 
Elle  ne  fait  que  gemir. 

Et  bien  que  de  loin  absente 

De  1’ absent  Cephale  soit, 
Comme  s' elle  estoit  presente, 
En  son  esprit  1 'apper90it : " 


"... .lumenque  obscura  vicissim 
luna  premit  suadentque  cadentia  sidera  somnos,  | 

sola  domo  maeret  vacua  stratisque  relict  is 

incubat.  ilium  absens  absentem  audit que  vedetque,"93  , 

Her  wavering  mind  (dubiae  mentis) 94  knows  not  what  is  bestjtc^e  done:  i 

"Elle  fuit  eschevel^e  ! 

Portant  bas  le  front  et  I'oeil,  | 

Et  par  bois  et  par  valee  j 

Lasche  la  bride  a son  dueil."  ! 


|lLau. , 
Lau. , 

II, 

333; 

Aen 

.,  IV, 

66-67,  2. 

II, 

333- 

334; 

Aen. , 

IV,  3-5. 

93Lau., 

II, 

334; 

Aen 

..  IV, 

80-83 . 

94Lau. , 

II, 

334; 

Aen 

.,  IV, 

55. 

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48. 


”uritur  infelix  Dido  totaque  vagatur 
urbe  furens  , . . . fuga  silvas  saltusqua  peragrat."^° 

She  attempts  to  master  her  passion  with  herbs  and  also  consults 

augurers  in  her  search  for  relief: 

" . . . . en  b6ant  regarde 
Le  fond  des  gesiers  ouvers. 

Pour  voir  si^'iuelque  sorte 

Pourra  t romper  sa  douleur: 

Mais  nulle  herbe, tant  soit  forte, 

N’a  sceu  rompre  son  inalheur : " 

” imhians  spirant ia  consul  it  exta.  og 

heu  vatuffi  ignarae  mantes.'  quid  vota  furentem^" 


Finally 

"L ' eshonteemaladie 

La  vierge  tant  pressa  la, 

Qu  *a  la  fin  toute  hardie 
A Cephale  ainsi  parla^-" 

"improbe  Amor,  quid  non  mortalia  pictora  cogis? 
ire  iterum  in  lacrimas,  iterum  temptare  precando . ”9'^ 

But,  like  Aeneas,  he  scorns  her  advances  and  flees  from  her  as  does 

the  shade  of  Dido  from  Aeneas: 

”Luy  desdaignant  sa  priere 
Fuit  la  suppliants  voix 
Et  tout  despit  en  arriere 
S'escarta  dedans  le  bois.” 

" corripuit  sese  a-tque  inimica  refugit 

in  nemus  umbrif erum, 

In  the  end  she  seizes  him  in  spite  of  his  resistance 

"...  comme  un  aigle  qui  serre 
Un  liSvre  en  ses  pieds  donte, 

En  luy  faisant  perdre  terre. 

Par  force  au  ciel  I'a  monte." 

"qualis  ubi  . . . .leporem. . . . 
sustulit  alta  petens  pedibus  Jovis  arraigsr  uncis,"^9 


^^Lau. , 

II, 

334  J 

Aen  ♦ , 

IV, 

68- 

69,  72 

®6Lau. , 

II, 

335; 

Aen. , 

IV, 

64, 

65. 

^*^Lau. , 

II, 

335; 

Aen . , 

IV, 

412 

-413. 

^®Lau. , 

II, 

335; 

Aen . , 

VI, 

472 

-473. 

99Lau. , 

II, 

336; 

Aen . , 

IX, 

563 

-564, 

;.r. 


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Thus  it  is  apparent  that  the  first  two  thirds  of  this  poem  of  Ron- 
sa rd  ai*e  clearly  Virgilian,  altKoi^the  rest  of  it  is  not. 

ODES  PUBLISHED  AFTER  1550 


In  1551  was  published  the  Tombeau  de  Marguerite  de  Valois . 
Rovne  de  Navarre,  which  contained  several  poems  by  Ronsard.  Among 
these,  the  Hynne  Triomphal  d*  elle-mesme  has  a long  passage  imitated 
from  the  Aeneid.  Christ  sends  a messenger  to  earth  to  do  his  bid- 
ding in  the  same  way  that  Jupiter  sends  Mercury  in  the  fourth  of  the 
Aeneid: 

"Et  lors  l*ange  il  appella 

Qui  par  I'air  vistement  vole,  .... 

'Posts,  dit-il,  marche,  fuy, 

Kuche  les  vents  et  les  suy, 

Laisse  ramer  tes  aisselles, 

Et  glisse  dessus  tes  ailes, .... 

La  de  ta  parole  endors 

Ceste  guerriere  et  le  voile 
De  son  victorieux  corps 
Transforms  au  ciel  en  estoile:” 

"Afterwards,"  he  continues*  ," allow  its  image  to  roll  through  the 

air  in  order  that  it  fall  on  earth  and  scorning  the  tomb 

"Vole  en  France  sans  repos  . 

Par  la  bouche:*  de  mainct  homme."^ 

In  the  Aeneid  Jupiter  calls  Mercury  to  him.  and  orders  him 

to  take  his  commands  to  Aeneas: 

"turn  sic  Mercurium  adloquitur  ac  talia  mandat: 

'Vale  age,  nate,  voca  Zephyros  et  labere  pinnis.'"2 

The  ideas  of  transform.ation  into  a star  and  of  flitting  on 

the  lips  of  men  are  found  in  the  Georgies The  description  of  the 

iLau.,  II,  398-399. 

^Aen. . IV,  222-323. 

3Geor.,  I,  32;  III,  9. 


angel’s  flight  to  earth  is  very  similar  to  that  of  Mercury’s: 

’’L'Ange  adonques  s’est  lie, 

A Pour  mieux  haster  sa  carriers, 

A 1 'un  et  k 1 ’autre  pi4 
L’une  et  1 ’autre  talonniere, 

B Dont  il  est  porte  souvent 

Egal  aux  souspirs  du  vent, 

C Soit  sus  la  terre,  ou  sus  I'onde, 

Quand  sa  roidour  vagabonds 
L 'avails  outre  I’air  bien  loing: 

Puis  sa  perruque  divine 
Coifa  d’une  capeline, 

D Prenant  sa  verge  en  son  poing. 

E De  cells  il  est  difermant 

L'oeil  de  I'homme  qui  somraeille: 

F Be  cells  il  est  endormant 

Les  yeux  de  I’homme  qui  veille: 

G De  cells  en  I’air  soustenu, 

Nagea  tant  qu’il  fust  venu 
Se  percher  sus  la  montage 
Q.ui  fend  la  France  et  I’Espagne: 

H Mont  que  I’orage  cruel 

Bat  tousjours  d’une  tempests, 

Tousjours  en-gla^ant  sa  teste 
D'un  frimas  perpetuel. 

I De  la  se  laissant  pancher 

A corps  elance,  grand  ’erre 
Fondoit  en' bas  pour  trancher 
Le  vent  qui  raze  la  terre. 

Deck  et  dela  vagant, 

A basses  rames  vogant 
Ores  coup  sur  coup  mobiles. 

Ores  coyos  et  tranquilles, 

J En  oiseau  qui  vole  bas, 

Et  I'aile  au  vent  ne  desplie 
Quand  pres  des  eaux  il  espie 
Le  hazard  de  ses  appas. 

X Ainsi  le  pront  messager 

Volant  d’une  aile  subite 
Glissa  bassement  leger,..."4 

"...ills  patris  magni  parere  parabat 
A impepio,  et  primum  pedibus  talaria  neotit 
0 aurea,  quae  subliraem  alis  sive  aequora  supra 
CB  seu  terram  rapido  pariter  cum  flamine  portant. 

D turn  virgam  oapit,  hac  animas  ills  evocat  Oreo 
pallentis^ alias  sub  Tartara  tristia  mittit, 

EF  dat  somnoB  adimitque  et  lumina  morte  resign?.t. 

G ilia  fretus  agit  ventos  et  turbida  tranat 

nubila, iamque  volans  apioem  et  la t era  ardua  cernit 
Atlantis  duri,  caelum  qui  vertioe  fulcit. 


4 Lau. , II,  399-400. 


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H "Atlantis,  cinctum  adsidue  cui  nubibus  atris  i 

piniferum  caput  et  vento  pulsatur  et  imbrij 
nixjumeros  infusa  tegit,  turn  flumina  mento 
praecipitant  senis,  et  glacie  riget  horrida  barba. 

I hie  primum  paribus  nitens  Cyllenius  alis 

constitit;  hino  toto  praeceps  se  corpore  ad  undas 
J misit  avi  similis,  quae  circum  litora,  circum  | 

piscosos  scopulos  humilis  volat  aequora  iuxta. 

K baud  aliter  terras  inter  caelumque  volabat 

litus  harenosum  ad  Libyae , vento sque  secabat.”^ 

There  are  several  other  epic  touches  in  the  poem,  - the 

comparison  of  1 'Esprit  to  a streak  of  lightning,®  the  combination 

of  waves  and  fields  of  grain  in  a double  comparison,*^  the  comparisoji 

of  the  battering  and  crashing  of  la  Chair  to  the  fall  of  a mass  of 

Q 

rocks  down  a mountain,  and  the  gazing  of  Christ  at  the  battle 
from  a cloud. ^ As  on  Aeneas'  shield  the  brow  of  Augustus  gleams 
with  his  father's  star,  so  on  Marguerite  may  be  seen  her  brother's  | 

star.^®  Finally  the  apotheosis  of  Daphnis  is  remembered  again:  j 

! 

"La  le  droit  chemin  tenant 
Tu  es  6 Princesse  all^e 
Ou  sous  tes  pieds  maintenant 
Tu  vois  la  terre  avall6e:"ll 

Another  poem  of  Ronsard's  in  Marguerite's  Tombeau  is  like- 
wise inspired  in  part  by  this  same  eclogue: 

" Comme  les  herbes  fleuries 

Sont  les  honrjeuesdes  prairies, 

Et  des  prez  les  ruisselets, 

De  I'orrae  la  vigne  aimee, 

Des  bocages  la  ram^e, 

Des  champs  les  bleds  nouvelets; 

Ainsi  tu  fus,  6 Princesse 
(Ain^ois  plutost oDeesse) 

Tu  fus  certes  tout  I’honneur 
Des  Princesses  de  nostre  age, "12 

IV,  338-257. 

II,  394j  A^. , VIII,  391. 

II,  393;  Aen.,  VII,  718-720. 

II,  397;  XII,  684. 

II,  398;  XII,  793. 

II,  401;  A^.,  VIII,  680. 

II,  401-402;  Ec. , V,  56-57. 

II,  404-405;  E£.,  V,  32-34. 


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52. 


For  such  a princess,  as  for  Daphnis,  there  should  not  be  erected  a 
showy  sepulchre,  but  a flowery  tomb  in  the  meadows: 

"Vous  pasteurs,  que  la  Garonne 
D'un  demi-tour  environne, 

Au  milieu  de  vos  prez  vers 
Faites  sa  t\imbe  nouvelle. 

Graves  un  tableau  sue  elle 
Du  long  cercle  de  vos  vers:"!^ 

Like  Daphnis,  the  princess  was  the  fairest  of  the  fair  and  should 
have  a beautiful  green  tomb: 

”Tous  les  ans  soit  recouverte 
De  gazons  sa  turn  be  verte, 

Et  qu'un  ruisseau  murmurant 
Neuf  fois  resourbant  ses  ondes, 

De  neuf  torses  vagabondes 
Aille  sa  tumbe  emmurant . 

On  a neighboring  cypress  tree  verses  in  her  honor  are  to  be  cut,^^ 
and  yearly  offerings  are  to  be  made  to  her: 

"Versez  du  miel  et  du  lait: 

Et  pour  annuel  office, 

Respandez  en  sacrifice 
Le  sang  d'un  blanc  aignelet. 

Faites  encor  a sa  gloire 

Mille  jeux  et  mille  esbas. . . . 

Several  lines  of  an  ode  of  1553  are  borrowed  from  lines  of 

the  first  Georalo  concerning  the  laws  laid  by  Nature  at  the  time  of 

the  establishment  of  the  human  race  from  stones: 

"Telles  loix  la  sage  Nature 
Arresta  dans  ce  monde,  alors 
Que  Pyrrhe  espandoit  sus  la  terre 
Nos  ayeux  conceus  d'une  pierre 
S'amollissante  en  nouveaux  corps." 

"Continue  has  leges 

imposuit  natura  locis,  quo  tempore  primum 
Deucalion  vacuum  lapides  iactavit  in  orbem, 
unde  homines  nati,  durum  gens. "17 

II,  405;  Ec.,  V,  42-44. 

II,  406;  Ec. , V,  66  , 40;  A^. , VI,  439. 

II,  407;  Ec.,  V,  13. 

II,  407;  Ec. , V,  67,  58. 

II,  350J  Geor. . I,  60-63. 


13lau. , 
1 "^Lau . , 
15Lau.; 
16Lau. , 
17Lau. , 


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53. 


Further  Incidents  from  the  Georgies  are  Astrea’s  departure  ancl/the  i 

discovery  by  farmers  of  great  piles  of  bones:  If  Prometheus  had 

not  formed  mortal  hearts  of  clay  as  he  did 

"Oertainement  la  vierge  Astr^e 
N'eust  point  quitte  nostre  contrde,.. 

On  n'eust  point  emmure  les  villas 
Pour  crainte  des  guerres  civiles 
Ny  des  estranges  legions, 

Ny  le  coutre  de  Pharsalie 

N'eust  hurt4  tant  d'os  d'ltalie,  i 

Ny  tant  de  vuides  morions. "18 

Several  other  lines  may  also  allude  to  Virgil,  - the  storm  and 
winds  of  the  Aegean  sea;  snow,  ice,  and  fir  trees  on  a mountain 
spohen  of  as  on  the  back  of  a man;  the  ice  in  streams;  and  the 

[ 

river  by  which  no  one  can  swear  falsely.^® 

Two  strophes  of  the  Ode  k Monsieur  le  Dauphin  (1555)  come  i 
directly  from  the  beginning  of  the  third  Georgio:  j 


"Que  me  vaudroit  de  chanter 

Ces  vieilles  fables  passees, 

Qui  ne  servent  qu'a  tenter 
L' esprit  de  vaines  pensees? 

Qui  est  celuy  qui  n'a  s^eu 
De  Polops  I'ardente  flame, 

Le  traistre  Oenomas  decepi, 

Et  les  nop ces  d'Hippodame? 

Ores  je  veux  esprouver 

Autre  fable  plus  nouvelle 
Que  ces  vieilles,  pour  trouver 
line  autre  gloire  plus  belle 
Qui  desja  se  donne  a moy. 

Si  jusqu  'aux  pays  estranges 
Du  fils  aisn4  de  mon  Roy 
Je  veux  pousser  les  louanges." 


"cetera  quae  vacuas  tenuissent  carmine  mentes, 
omnia  iam  volgata:  quis  aut  Eurysthea  durum 
aut  inlaudati  nescit  Busiridis  aras? 


18Lau. , 
l^Lau. , 


_ Aen. , 


cui  non  dictus  Hylas  puer  et  Latonia  Delos 
Hippodameque  umaroque  Pelops  insignis  eburno, 
acer  equis?  temptanda  via  est,  qua  me  quoque  possim 
toilers  humo  victorque  virum  volitare  per  ora" ."0 
II,  353;  Geor. . II,  474;  I,  489-497. 

II  350,  354;  Aen.,  XII,  365-367;  IV, 248-250;  Geor. .1.43; 
- III,  - Q. 


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54. 


In  this  poem,  which  sings  the  praises  of  several  members  of  the 
royal  family,  the  Arno  river  personified  like  the  Tiber  rises  to 
speak  to  Jupiter: 

"Mais  Arne  qui  I'entre-vit, 

PousBant  I'eau  de  son  espaule. 

Hors  des  flots  la  teste  mit 
Ceints  de  joncs  et  de  saules*. ... 

A tant  le  flueve  plongea 
Au  plus  creux  de  I'eau  sa  teste. 

The  prophetic  tone  in  which  the  Dauphin  is  told  of  his  brilliant 
destiny  and  of  the  realms  which  are  to  come  into  his  power  recalls 
Anchises'  predictions,  in  Aeneid  VI . of  the  greatness  of  the  Romans 
under  the  Caesars: 

"Ainsi  qu'a  Rome  Cesar 
Triomphant  d'une  victoire, 

Hault  t'assoiras  dans  un  char 
Dessus  un  siege  d'yvoire" ‘.22 

Like  Augustus,  the  Dauphin  will  bring  peace  to  his  country  after 
closing  the  temple  of  war: 

"Puis  ayant  de  toutes  pars 

Ferme  de  cent  chaisnes  fortes 
De  I'ouvert  temple  de  Mars 
L 'horrible  aoier  de  cent  portes, 

Tu  ferae  egal  aux  Dieux 
Ton  regne,  et  par  ta  contr6e 
Fleurir  la  Paix,  et  des  oieux 
Revenir  la  belle  Astr^e," 

"aspera  turn  positis  raitesoent  saecula  bell is; 
oana  Fides  et  Vesta,  Remo  cum  fratre  Quirinus 
iura  dabunt;  dirae  ferro  et  compagibus  artis 
claudentur  Belli  portae;  Furor  impius  intus 
saeva  sedens  super  arma  et  centum  vinctus  aenis^ 
post  tergum  nodis  freraet  horridus  ore  cruento."23 

Most  of  the  races  which,  according  to  the  Od^  a Monseigneur 
le  Duo  d* Orleans.  (1555)  Charles  is  to  conquer  are  among  those  men- 

SlLau.,  II,  243-244;  , VIII,  31-34;  66-67. 

23Lau.,  II,  247. 

23Lau.,  II,  250;  Aen. . I,  291-396  and  also  VI,  852;  ^. , IV,  6. 


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tioned  by  Virgil  in  connection  with  the  wars  and  conquests  of  the 
Romans; 


"Ceux  qui  sont  sous  le  resveil 
Du  Soleil, 

Ceux  qui  habita  Niphate, 

Ceux  qui  vont  d'un  boeuf  suant 
Rem\iant 

Les  gras  rivages  d'Euphrate. . . . 

Et  tout  oe  peuple  odorant 
Demeurant 

Aux  sablons  de  la  Sabee: 

Ceux  qui  ont  en  bataillant 
li'arc  vaillant^ 

Quand  ils  sont  tournez  derriere, 

Et  ceux  qui  toutes  saisons 
Leurs  maisons 

Roulent  sur  une  civiere: 

Ceux  qui  d'un  acier  mordant 
Vont  tondant 

De  Gange  les  doux  rivages, 

Et  ceux  qui  hantent  aupres 
Les  forests 

Des  vieux  Arcades  Sauvages: 

Ceux  qui  vont  en  labourant 
Deterrant 

Tant  d'oz  es  champs  de  Sig4e, . . . . ”34 
There  are  several  other  reminiscences  of  Virgil  in  the  same  poem,- 
the  comparison  of  the  dead  prince  Charles  to  a flower  beaten  by  the 
wind; 

"Comme  on  vcit  .... 

. . . .un  lia  trop  lave 
Agrave 

D 'unepluyeuse  tempeste 

Ou  trop  fort  du  chaud  atteint 
Perdre  teint, 

Et  languir  a basse  teste 


2"^Lau.,II,  255;  for  the  Orient  cf.  Geor « . Ill . 30;  Aen.  .VI  .798;  VIII^ 
705-706;  the  Niphates,  Geor. . Ill,  30;  the  Sabaeans,  Geor. . 1,57, 
II,  117;  Aen.  . Wiy.^70Q;  the  Parthians,  Geor.  .Ill . 31,  the  Africans 
who  carry  their  homes,  Geor. . Ill,  344-345;  the  inhabitants  of  the 
Ganges. Geor . . Ill,  27;  the  Arcadians. Aen. . VIII,  159  and  passim  ; 
and  those  who  dig  up  bones. Geor. .1 . 497. 

25Lau.,  II,  251;  A^. , IX,  436-437. 


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56. 


youth  indicated  by  appearance  of  golden  down  on  the  prince's  face: 

"A  peine  un  poll  blondelet^ 

Nouvelet , 

Autour  de  sa  bouche  tendre 
A se  frizer  commen^oit , "26 

and  the  picture  of  Charon: 

"Et  le  Nocher  importun 
Un  chacun 

Presse  en  sa  nacelle  courbe^ 

Et  sans  honneur  a la  fois 
Met  lea  Rois 

Pesle-mesle  avec  la  touiabe."27 

The  ode,  Magie  ou  Delivrance  d* Amour  (1584)  at  times  brings 

to  mind  the  song  of  Alphesiboeus  in  the  eighth  Eclogue  and  also 

Dido's  sacrifices  for  love.  The  lover  who  is  offering  the  sacrifice 

must  be  loose  girdled  like  Dido.  She  burns  incense,  pours  out 

water,  sets  fire  to  a tree,  and  scatters  salt.  Finally  she  gathers 

all  the  presents  of  her  former  friend  in  order  to  destroy  them.  28 

The  idea  of  the  greater  part  of  the  Ode  a Diane  de  Poitiers  (1555) 

is  inspired  from  a passage  in  Aeneid  VIII  in  which  the  god  of  the 

Tiber  gives  instructions  to  Aeneas  and  tells  him  of  the  future 

greatness  of  his  race.  In  Ronsard  the  Clain  river  speaks  to  one  of 

the  members  of  the  house  of  Poitiers  telling  him  where  to  go  and 

29 

mentioning  hie  famous  descendants. 


^^Lau.,  II,  251;  Aen. , X,  324. 

2"Lau.,  II,  253;  Aon*,  VI,  315-316. 

28Lau.,  II,  457-459;  ^. , IV,  518;  Ec . , VIII,  65,  64,  82.  Aen. . 

IV  ^12  fSOy-fTHfi 

29Lau.,  vi,  238-239;  Aen.,  VIII,  30-66. 


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57. 


AMOURS,  ELEGIES,  BOCAGES,  POEMES,  DIS- 
COURS, EPITAPHES,  HYWNES,  TRADUCTIONS  EN  VERS 


Very  few  of  the  sonnets  are  inspired  entirely  by  Virgil, 

although  there  are  many  reminiscences  of  him  in  them.  A sonnet  of 

1552  in  which  Ronsard  pictures  himself  as  a Corydon  alone  in  the 

woods  recounting  his  love  sorrows  has  a Virgilian  picture  of  spring 

"Or  *que  Jupin  espoint  de  sa  setnenc© 

Veut  enfanter  see  enfans  bien-aimez, 

Et  que  du  chaud  de  ses  reins  allumez 
L’humide  sein  de  Junon  ©nsemencei 
Or  'que  la  mer,  or  'que  la  vehemence 

Des  vents  fait  place  aux  grans  vaisseaux  armez, 

Et  que  I'oiseau  parmi  les  bois  ramez, 

Du  Thracien  les  tan^ons  recommence: 

Or  'que  les  prez  et  ore  que  les  fleurs 
De  mills  et  mille  et  de  mills  couleurs 
Peignent  le  sein  de  la  terra  si  gaye, 

Seiil  et  pensif  aux  rochers  plus  segrets 
D'un  coeur  must  je  conte  mes  regrets, 

Et  par  les  bois  je  vay  celant  ma  play."^ 

Another  sonnet  of  1552  gives  a picture  of  summer  as  des- 
cribed in  the  Georgj  csi 

"Non  la  chaleur  de  la  terra  qui  fume 

Aux  jours  d'Este  luy  crevassant  le  front: 

Non  1 'Avant-chien,  qui  tarit  jusqu'au  fond 
Les  tiedes  ©aux,  qu'ardant  de  soif  il  hums: 

Non  c©  flambeau  qui  tout  ce  monde  allume 
D'un  bluetter  qui  lentement  se  f ond: 

The  first  quatrain  of  the  sonnet 


"Je  m'asseuroy  qu'au  ohangement  des  cieux, 
Cet  an  nouveau  romproit  ma  destines, 

Et  que  sa  trace  en  serpent  retournee 
Adouciroit  mon  travail  soucieux: " (l552) 


has  two  Virgilian  concepts,  - that  of  the  year  being 
changes  of  the  constellation  and  of  the  year  turning 


ushered  in  by 


back  on  itself 


3 


G0or.,II,325-328;  Aen. , IV, 309-310;  ^.,III,  56-57;  II 
4-5.  For  the  Latin  of  the  first  Virgilian  citation  see  note  32, 
section  A. 

2 

Lau.,I,  59;  Geqr . , II,  353;  IV,  435-428. 

Lau.,  I,  90;  Geor. . 217-218;  II,  402. 


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58. 


The  source  of  the  quatrains  of  still  another  sonnet  of  1552  is  the 
end  of  the  fourth  Georglo: 


Lore  4u  il  trenchoit  d'un  bras  viotorieux 
Au  bord  du  Rhin  I'Espagnole  vaillance, 

Ja  se  tra^ant  de  I'aigu  de  sa  lance 
Un  beau  sentier  pour  s'en  aller  aux  cieux." 

"Haec  .... canebam 
. . . .Caesar  dum  magnus  ad  altum 
fulminat  Euphraten  bello  victorque  volentis 


Dido's  denunciation  of  Aeneas > when  he  is  about  to  desert  her  is 
recalled  in  this  invective  against  Cupid: 


"Amour,  qul_conque  ait  dit  qua  le  ciel  fut  ton  pere, 
£t  que  la  Cyprienne  en  ses  fiance  te  porta, 

11  trompa  les  humains,  un  Dieu  ne  t'enfanta: 

Tu  n'est  pas  fils  du  ciel,  Venus  n'est  pas  ta  mere. 
Des  champs  Massyliens  la  plus  cruelle  Fere 


Luna,  who,  as  is  mentioned  in  Virgil,  was  enticed  by  the  snowy 
fleece  of  Pan  is  addressed  in  a tercet  of  1554: 


"Tu  sgais,  Lune,  que  peut  I'amoureuse  poison: 

Le  Dieu  Pan  pour  le  prix  d'une  blanche  toison 
Peut  bien  flechir  ton  ooeur."6 

The  beginning  of  the  sonnet: 

"Dieux,  si  au  Ciel  demeure  la  pi tie 

En  ma  favour  que  maintenant  on  jette 
Du  feu  vangeur  la  meurtriere  sagette. 

Pour  d'un  mauvais  punir  la  mauvaistie: " (1553)7 


is  similar  to  the  words  of  Priam  denouncing  Pyrrhus.  Several  of 
the  sonnets  addressed  to  the  various  kings  eulogize  them  as  Augustus 


4Lau.,  I,  124;  Geor. . IV,  559-562. 
SLau.,  I,  143;  Aen. . IV,  365-367,  379. 
SLau.,  I,  149;  Geor . . Ill,  391-393. 
7Lau.,  I,  350;  ien . , II,  535-538. 


"J 'alloy  roulant  ces  larmes  de  mes  yaux 
Or 'pi 


Lors  que  Henry  loing  des  bornes  de  France 
eoit  I'honneur  de  ses  premiers  ayeux: 


per  populos  dat  iura  viamque  adfectat  Olympo."^ 


ei  lt3  Teinna  Ic  r:U'iiy^>i  It  iXTuoa  o.*iT 


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59. 


Caesar  was  eulogized  by  Virgil.  The  sonnet  au  rov  Henry  III  (1578) 
gives  a pretensions  enumeration  of  the  lands  to  be  conquered  by 
that  monarch,  after  which  conquest  the  Temple  of  War  will  be  closed 
and  Peace  and  Justice  will  reign. 8 The  sonnet  aiu  Roy  Francois 

(1560)  has  a like  theme  and  closes  with  a translation  of  a line  of 
the  Aeneid: 

"Mais  pardonne  au  veincu,  et  donte  le  rebelle." 

"parcere  subiectis  et  debellare  superbos."® 

The  sonnet  Audit  S,  ^ Beaumont  (l552)  is  inspired  from  the  fourth 
Eclogue: 

”Jeune  Herculin,  qui  dee  le  ventre  saint 
Fut  destine  pour  le  commun  service, 

Et  qui  naissant  rompis  la  teste  au  vice 
Par  ton  beau  nora  dedans  les  Astres  peint; 

Quand  I'age  d'homme  aura  ton  coeur  attaint, 

S'il  reate  encor  quelque  trac  de  malice, 

Le  monde  adonc  ploye  sous  ta  police 
Le  pourra  voir  total ement  esteint. 

En  ce-pendant  orois  enfant  et  prospers, 

Et  sage,  appren  les  hauts  faits  de  ton  pere, 

Et  ses  vertus,  et  les  honneurs  des  Rois. 

Puis  autre  Hector  tu  courras  a la  guerre. 

Autre  Jason  rameras  pour  conquerre 

Non  la  Toison,  mais  les  champs  Navarrois.” 

"iam  nova  progenies  caelo  demittitur  alto, 
tu  modo  nascent!  puero,  quo  ferrea  primum 
desinet  ac  toto  surget  gens  aurea  mundo,..., 
hinc  ubi  iam  firmata  virum  te  feoerit  aetas,... 

...  si  qua  manent  sceleris  vestigia  nostri, 

inrita  perpetua  solvent  formidine  terras 

at  simul  heroum  laudes  et  facta  parentis 

iam  legere  et  quae  sit  poteris  cognoscere  virtus. . . . 

alter  erit  Tiphys,  et  altera  quae  vehat  Argo 

deleotos  heroas;  erunt  etiam  altera  bella 

atque  itorum  ad  Troiam  magnus  mittetur  Achilles. "10 


SLau.,  II,  1;  Aen . , VI,  792-805;  851-852;  I,  294. 

^Lau.,  II,  8;  , VI,  853. 

lOLau.,  II,  22;  , IV,  7-9,  37,  13-14,  26-27,  34-36. 


60 


The  Voyage  ^ Tours  (1560),  which  describes  with  pastoral 
setting  the  trip  made  by  Ronsard  and  Baif  to  see  their  mistresses, 
has  parallels  for  a number  of  passages  of  the  Eclogues.  Perrot 
sings  to  his  mistress  that  he  would  like  to  live,  unknown  to  the 
world,  alone  with  her  in  the  meadows,  even  as  Gallus  would  give  up 
his  fame  for  simple  pastoral  life: 

"Puis  sur  le  chaud  du  jour  je  veux  en  ton  giron 

Me  couoher  sous  un  chesne." 

"Mecum  inter  salioes  lenta  sub  vite  iaceret."^! 

"Contents  seulement  de  t 'aimer  et  te  voir 

Je  passerois  mon  age,"  ^ 


hie  ipso  tecum  consumerer  aevo."^^ 

Thoinet  has  a gift  of  wood-pigeons  for  his  mistress,  which,  he  says, 
Margot  has  been  trying  to  win  from  him.^®  He  has  also  gathered 
many  flowers  for  her.^^  He  consults  a prophetess  when  his  love  pays 
no  attention  to  him. ^5  Expressions  corresponding  to  the  comparison 
of  a character  to  a pine  tree,  the  declaration  that  the  cold  lover 
has  been  nursed  by  a tigress,  the  beginning  of  the  description  of 
April  "quand  tout  arbre  florit"  and  of  a vine  enlacing  a tree  are 
also  to  be  found  in  Virgil. ^6  At  the  end  of  his  song  Thoinet  in 
despair  like  Damon,  declares  he  must  plunge  into  the  waves. 17 


llLau.,  I,  170;  Ec..  X,  40.  Lavimonier  (VII,  192)  says  that  the  pas- 

sage  is  imitated  from  Naugerius,  but  Virgil  was  probably  in  mind 
also. 

^"Lau.,  I,  170',  Ec.,  X,  43. 
l^Lau.,  I,  165;  Ec . , II,  43;  III,  69. 
iJLau.,  I,  165-166;  ^. , II,  45-49. 
lOLau.,  I,  163;  Ajn . , IV,  483. 

1^2,  163,  167;  ^.,  VII,  65;  ^. , IV,  367;  Ec.,  Ill, 

56;  Geor. . II,  221.  — ' 

•‘‘^Lau.,  I,  166;  , VIII,  59-60. 


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61. 


A passage  from  the  Elegie  en  forme  d' invective  (1569) 

imitates  another  time  the  latter  part  of  the  second  Goorgic  where 

the  bliss  of  country  life  in  contrast  to  city  life  is  described. 

”Heureux  oeluy  qui  du  coutre  renverse 
Son  gras  gueret  d'une  peine  diverse, 

Tantost  semant,  labourant  et  cueillant, 

D6s  le  matin,  jusqu'au  soir  travaillant 

Si  tant  d'orgueil  autour  de  luy  n'habite. 

Si  tant  de  biens  qui  s'esooulent  si  viste, 

A tout  le  moins  il  loge  en  sa  maison 
Moins  de  faveur,  et  beaucoup  de  raison, 

Dont  il  gouverne  en  repos  sa  famille. 

Loin  du  Palais,  du  Prince  et  de  la  ville;'*18 

In  the  El egle  & Muret  (1553)  the  achievements  of  Hercules  are  enumer 

19 

ated  as  in  Aeneid  VIII. 

An  elegy  of  1561  repeats  the  comparison  of  a person  who 

dies  early  in  life  to  a lily  beaten  down  by  the  rain: 

"Ny  plus  ny  moins  qu'en  un  jardin  fleury 
Meurt  un  beau  Liz,  quand  la  pluye  pesante 
Aggrave  en  bas  sa  teste  languissante, "SO 

There  is  also  the  comparison  of  a wife’s  grief  at  the  death  of  her 

husband  to  that  of  a turtle  dove  for  its  mate.  This  is  inspired 

by  the  comparison  of  Orpheus’  grief  to  the  mourning  of  a nightingale 

which  has  lost  her  brood: 

"... .ainsi 

Qu’on  voit  au  bois  la  veufve  Tourterelle, 

Ayant  perdu  sa  compagne  fidelle: 

Jamais  un  autre  elle  ne  veut  ohoisir,.... 

Ny  pr4  ny  bois  son  regret  ne  console, 

Et  d’arbre  en  arbre  au  poinct  du  jour  ne  vole, 

Ains  se  cachant  dedans  les  lieux  secrets, 

Seulette  aux  vents  raconte  ses  regrets, 

Se  paiet  de  sable,  et  sans  amy  se  branche 
En  souspirant^ sur  une  seiche  branche."21  ' 


^®Lau. 

ISLau. 

20Lau. 

2lLau. 


IV,  149;  Geor. , II,  458-465,  467,  513,  516. 
I,  113-113;  Aen. . VIII,  288-300. 

V,  18;  Aen.,  IX,  435-437. 

V,  19  ; Geor.,  IV,  Si  1-515. 


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62. 


The  poem  L 'Orphe'e  en  forme  d’Elegie  (1563)  begins  in  true 
epic  fashion: 

"Je  chante  ici,  de  Bray,  les  antiques  faits  d’armes 
Et  les  premiers  combats  de  ces  nobles  gend' armes, 

and  introduces  a description  of  time  like  many  of  Virgil's: 

"II  estoit  presque  nuict,  et  Vesper  qui  venoit. 

Dosja  le  grand  troupeau  des  Astres  amenoit,"23 

The  journey  of  Jupiter  and  Thetis  to  the  cave  of  Chiron  is  recount- 
ed, where 


"Apres  que  le  desir  de  manger  fust  oste, 

Et  que  le  vin  dernier  par  ordre  fust  gouste,"24 


Chiron  rises  to  address  a song  to  his  distinguished  visitors,  after 


which  Orpheus  sings  of  his  wife  Eurydice.  The  greater  part  of  this 
song  is  imitated  directly  from  the  story  of  Orpheus  and  Eurydice  as  | 
told  by  Proteus  to  Aristaeus  in  the  fourth  Georgic: 


A "Un  jour  qu'elle  fuyoit  I'amoureux  Aristee 
Le  long  d'une  prairie,  en  un  val  escart4e, 

Elle  fut  d'un  Serpent  qui  vers  elle  accourut, 

Morse  dans  le  talon,  dont  la  pauvre  mourut. 

B Apres  que  le  troupeau  des  Nymfes  I'eut  gemie, 
Clochante  elle  descend  touts  palle  et  blesmie 
C La  bas  dans  les  Enfers:  et  moy  sons  un  rocher 
Voyant  le  Soleil  poindre  et  le  voyant  coucher. 

Sans  oesse  je  pleurois,  soulageant  sur  ma  Lyre, 
Bien  que  ce  fust  en  vain,  mon  amoureux  martyre. 

A la  fin  desireux  de  retrouver  mon  bien, 

D Desespere  je  saute  au  creux  Tenarien, 

E J'entray  dans  le  bocage  effroyable  de  crainte; 

F Je  vy  les  Manes  vains  qui  ne  volent  qu'en  feinte, 
Et  le  cruel  Pluton  des  horames  redout^, 

Et  sa  femme  impiteuse  assise  a son  costs, 

Dure  fiere  rebelle  impudente  inhumaine, 

G Dont  le  coeur  n'est  flechi  par  la  priere  humaine;" 


A "ilia  quidem,  dum  te  (=Aristaeum)  fugeret  per  flumina  praec€|j 
immanem  ante  pedes  hydrum  moritura  puella 
servantem  ripas  alta  non  vidit  in  herba. 


PS 


22Lau.,  IV,  77;  Aen. , I,  1. 

:*3Lau.,  IV,  77;  Aen. . IV,  532-524,  III,  14T. 
2Uau.,  IV,  79;  Aen.  ,1,216,  723-724,  740-741. 


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63. 


B at  chorus  aequalis  Dryadum  cl amor e supremos 

implerunt  montis;  

C ipse  cava  Solans  aegrum  testudine  amorem 

te,  dulcis  coniunx,  te  solo  in  litore  secum, 
te  veniente  die,  te  decedents  canebat. 

D Taenarias  etiam  fauces,  alta  ostia  Ditis, 

E et  caligantem  nigra  formidine  lucum 
F ingressus,  manisque  adiit  regemque  tremendum 
Gr  nesciaque  humanis  precibus  mansuescere  corda.”^^ 

In  his  address  to  Pluto  Orpheus  begins  with  what  might 
have  been  the  answer  of  Aeneas’  priestess  guide  to  Acheron's  ex- 
pression of  fear  at  the  sight  of  Aeneas: 

"Je  ne  viens  pas  ici  pour  enchaisner  Cerbere, 

Ni  pour  voir  les  cheveus  de  1 'horrible  Megere:"^® 

After  his  speech  the  spirits  gather  around  him,  as  numerous  as  hail 

stones  (in  Virgil  as  numerous  as  the  birds  driven  to  shore  by  a 

storm) : 

"Falsant  telle  oraison,  les  ames  sont  venues 
Ainsi  que  gresillons  greslettes  et  menues, 

Pepier  a I'entour  de  mon  Luth  qui  sonnoit 
Et  de  son  chant  piteux  les  manes  estonnoit . "27 

After  hie  wife  had  been  restored  to  him,  Orpheus  starts  his  return 


to  the  upper  air: 


A "ja  presque  j'avois 

Passe  le  port  d'Enfer,  les  rives  et  le  bois, 

& Quand,  Iasi  veincu  d' amour  je  regarde  en  arriere, 

Et  mal-caut  je  jettay  sur  elle  ma  lumiere, 

C Faute  assez  pardonnable  en  amour,  si  Pluton 
Sgavoit  helas.’  que  c’est  que  de  fairs  pardon. 

D La  mon  labour  fut  vain  e'escoulant  en  rises, 

E La  du  cruel  Tyran  la  pache  fut  brisee: 

Je  voulois  I'embrasser,  quand  sa  piteuse  vois 
F Comme  venant  de  loin  J'entendi  par  trois  fois: 

0 Quel  malheureux  destin  nous  perd  tous  deux  ensemble? 
H Quelle  fureur  d' amour  nostre  amour  des-assemble? 

Pour  m'estre  trop  piteux  tu  m'as  est^  cruel, 

Adieu  mon  cher  espoux  d'un  adieu  eternel: 

1 Le  destin  me  r'appelle  en  ma  place  ancienne, 

J Et  mes  yeux  vont  nouant  dedans  I’eau  Stygienne. 

K Or  adieu  mon  ami!  je  re-meurs  de  rechef. 


35Lau. , IV, 83jGeo£. , IV, 457  - 461, 464-470 . Others  have  told  the  story  of 
Orpheus  (notably  Ovid),  but  this  beginning  and  the  following  passage* 
follow  the  Virgil ian  version  very  closely. 

agLau  1 1 


27Lau.,  IV,  85;  Geor. . IV,  471-474,  481. 


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L "Une  nuict  ombrageuse  environne  mon  ohef. 

M Par  trois  fois  rotourne  je  la  voulu  reprendre, 

Et  1 'ombre  par  trois  fois  ne  me  voulut  attendre 
N Se  desrobant  de  moy,  et  s'envola  devant 
0 Comme  un  leger  festu  s'en-vole  par  le  vent. 

PQ  Helas,  qu'eu8s6-Je  fait?  de  quelle  autre  priere 
Eusse- je^lflecbir  Proserpine  si  fiere? 

R Ma  pauvre  femme  estoit  deja  de  1 'autre  ibord.' 

S Et  le  nocher  d'Enfer  ne  m'offroit  plus  le  port, 

T Je  fus  sept  mois  entiers  sous  un  rocher  de  Tnrace, 

Pres  du  fleuve  Strymon  couche  centre  la  place, 

U Pleurant  sans  nul  confort,  et  souspirant  dequoy 
Je  n'estois  retourne  la  demander  au  Roy." 

A "iamque  pedem  referens  casus  evaserat  omnis, 
redditaque  Eurydioe  superas  veniebat  ad  auras, 
pone  sequens  (namque  hanc  dederat  Proserpina  legem), 
cum  subita  incautum  dementia  cepit  amantem, 

O'  ignoscenda  quidem,  scirent  si  cognoscere  Manes: 
restitit,  Eurydicenque  suam  iam  luce  sub  ipsa 
B immemor  heu,'  victusque  anirai  respexit.  ibi  omnis 
DE  effusus  labor  atque  immitls  rupta  tyranni 
F foedera,  terque  fragor  stagnis  auditus  Avernis. 

G ilia  'quis  et  me'  inquit  'miseram  et  te  perdidit^ Orpheu, 
HI  quis  tantus  furor?  en  iterum  crudelia  retro 
J fata  vacant  conditque  natantia  lumina  somnus. 

KL  iamque  vale:  feror  ingen ti  circumdata  nocte 

invalidasque  tibi  tendens,  heui  non  tua,  palmas. ' 

NO  dixit  et  ex  ooulis  subito,  ceu  fumus  in  auras 
N coramixtus  tenuis,  fugit  diversa,  neque  ilium 
M prensantem  nequlquam  umbras  et  multa  volentem 
S dicere  praeterea  vidit;  nec  portitor  Orel 
araplius  obiectam  passus  transire  paludem. 

P quid  faceret?  quo  se  rapta  bis  coniuge  ferret? 

Q quo  fletu  manis,  quae  numina  voce  moveret? 

R ilia  quidem  Stygia  nabat  iam  frigida  cumba. 

T septem  illwn  totos  perbibent  exj^rdine  mensis 
rupe  sub  aeria  deserti  ad  Strymonis  undam 
U flevisse,  et  gelidis  haec  evolvisse  sub  antris,"'^ 

Txie  Ronsard  passage  is,  therefore,  almost  a translation  of  Virgil 

except  for  the  fact  that  the  third  person  is  used  by  Virgil,  This 

fact  necessitates  a change  in  the  end  of  the  French  poem,  since 

Orpheus  dould  not  very  well  sing  of  his  being  torn  to  pieces,  which 

fate  is  his  in  Virgil, 

Several  stanzas  of  a poem  addressed  to  Charles  IX  in  the 


28Lau. , 


IV,  85-86;  Geor. , IV,  485-509. 


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Bocage  Royal  (1565)  are  inspired  by  the  lines  in  the  fourth  Eclogue 


where  Virgil  wishes  for  length  of  days  to  write  of  the  deeds  of  his 
so-called  Messiah: 

"Ah!  si  je  puis  jusqu'a  tel  age  vivre 
Que  VOS  combats  ma  plume  puisse  suivre. 

Tout  au  milieu  de  vos  assauts  divers, 

Fifres,  tabours,  je  chanteray  mes  vers 
A I'envy  d’eux,  si  bien  qu'on  pourra  dire 
Que  VOS  canons  feront  place  a ma  Lyre. 

Alors  d’Aurat  qu  'Apollon  a nourry, 

Belleau  qui  est  des  Muses  tant  chery, 

Ne  me  vaincront,  non  pas  Apollon  mesme: 

Car  plein  d'ardeur  et  d'une  envie  extreme 
De  bien  chanter,  comme  tout  furieux 
Vostre  beau  nom  j'envoiray  jusqu'aux  Dieux." 

"0  mihi  turn  longae  maneat  pars  ultima  vitae, 
spiritus  et,  quantum  sat  erit  tua  dicere  facta: 
non  me  carminibus  vincet  nec  Thrasius  Orpheus, 
nec  Linus,  huic  mater  quamvis  atque  huic  pater  adsit, 
Orphei  Calliopea,  Lino  formosus  Apollo. "29 

One  of  the  frequent  comparisons  of  the  French  king  to  Augustus  oc- 
curs in  this  poem. 

The  poem  entitled  1 'Hvlas  (1569)  is  written  in  praise  of 
Hercules  for  the  good  he  did  to  Frenchmen  as  in  Aeneid  VIII, 288-300 . 
Evander's  bards  sang  of  Hercules  for  his  killing  of  Cacus.  In  the 
poem  there  is  a close  imitation  of  the  description  of  the  spinning 
nymphs  in  the  fourth  Georgic  . althou^  their  names  are  changed: 

"Pres  de  la  Nynfe  au  plus  profond  des  ondes 
Estoit  Antrine  aux  belles  tresses  blondes, 

Et  Azurine  aux  tetins  descouverts, 

Verdine,  Ondine,  et  Bordine  aux  yeux  verts, 

L'une  des  deux  estoit  encor  pucelle, 

Et  1 'autre  avoit  du  laict  en  la  mammelle, 

Et  de  Lucine  en  la  fleur  de  ses  ans 
Avoit  senti  les  traits  doux  et  cuisans, 

Qui  devuidoyent  les  toisons  Tyriennes 
Teintes  au  sang  des  huistres  Indiennes."^ 


29Lau.,  Ill,  241;  , IV,  53-57. 

30Lau.,  V,  128;  Geor. . IV,  334-340. 


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66. 


Reference  to  the  reechoing  of  the  shores  with  the  cry  of  Hylas  is 
found  in  this  poem  as  well  a s in  the  sixth  Eclogue. 

The  poem  Les  Isles  fortunees  (1553)  begins  with  a descrip- 
tion of  the  wars  of  Europe  which  is  in  part  like  the  description  in 
Georgies  of  the  Roman  state  at  the  time  of  Caesar's  death: 

"Puis  que  I'on  voit  tant  de  foudres  aux  cieux 
En  temps  serain,  puis  que  tant  de  Cometes, 

Tant  de  chevrons,  tant  d 'horribles  planetes 
Nous  menacer:  puis  qu'au  milieu  de  I'aer 
On  voit  si  dru  tant  de  flames  voler. 

Puis  trebucher  de  glissades  roulantes: 

Puis  que  I'on  voit  tant  d'esprits  solitaires 
Nous  effroyer,  et  qu'on  oit  tant  d'oiseaux 
D'un  vilain  cry  presagier  les  maux...."32 

Ronsard  and  Muret  plan  to  leave  this  tumultuous  world  for  a more 

peaceful  shore.  The  crowd  which  surrounds  their  boat  as  they  are 

about  to  depart  is  like  the  throng  on  the  banks  of  the  Cooytus 

waiting  to  be  ferried  across  by  Charon: 

"....regarde  quelle  presse 
Dessus  le  bord  joyeuse  nous  attend 
Pour  la  conduire,  et  ses  bras  nous  estend, 

Et  devers  nous  toute  courbe  s'encline, 

Et  de  la  teste  en  criant  nous  fait  sine 
De  la  passer  dedans  nostre  bateaul"33 

The  Utopian  lands  whither  the  poet  and  his  friend  sail  are  never 

ploughed,  for  the  earth  of  itself  brings  forth  bountiful  supplies. 

There,  avarice  has  not  put  limits  to  the  fields,  nor  are  pines  cut 

in  order  to  sail  to  other  lands,  nor  do  dragons,  comets,  earthquakes 

frighten  the  people.  The  land  is  also  free  from  war: 

"La  sans  navrer  comme  icy  nostre  ayeule 
Du  soc  aigu,  prodigue,  toute  seule 
Fera  germer  en  joyeuses  forets 
Parmy  les  champs  les  presens  de  Ceres. . . . 

3lLau.,  V,  130;  ES.*  > * 43-44. 

32Lau.,  V,  158;  VII,  488;  Geor. . I,  487-488,474-475,477-478,470. 
33Lau.,  V,  158-159;  Aen. . VI,  305,  313-314. 


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67, 


"La  comme  icy  1 'avarice  n'a  pae 
Borne  les  champs  ny  d'un  effort  de  bras 
Avec  grand  bruit,  les  pins  on  ne  renverse 
Pour  aller  voir  d'une  longue  traverse 
Quelquo  autre  monde;..,."  etc. 34 

The  description  of  the  "Fcrtunata  Nemora"  is  also  used  for  some  of 
the  details  - the  venerable  old  man  in  the  white  robe,  the  sports 
of  the  men,  and  Muret  depicted  as  towering  above  the  rest: 

"La  venerable  en  une  robe  blanche, 

Et  couronne  la  teste  d'une  branche 
Ou  de  Laurier,  ou  d'Olivier  retors,  .... 

La  tous  huilez  les  uns  sur  les  sablons 
Iront  luitant,  les  autre s aux  balons 
Dessus  lee  prez  d'\ine  partie  egale 
Courront  ensemble,  et  jou'ront  a la  bale: 

L'un  doucement  a 1 'autre  escrimera, 

Tu  paroitras  des  espaules  un  Dieu 
Les  surpassant" : . . . .35 

Even  the  woodland  creatures  will  know  the  songs  of  bards  on  those 
far  off  shores: 

"...les  Sylvains  amoureux  des  Naiades 
Sqavront  par  ooeur  les  accents  de  ta  vois 
Pour  les  apprendre  aux  rochers  et  aux  bois,"^® 

The  Discours  a Qdet  de  Colligny,  Cardinal  de  Chastillon 
(1560)  contains  a series  of  comparisons  all  of  which  are  found  in 
Virgil.  They  are  introduced  as  pictures  of  the  mutability  of 
nature  and  of  the  uncertainty  of  things; 

"Comme  un  arbre  plant6  sur  les  monts  solitaires 
Battu  diversement  de  deux  vents  tout~contraires, 

L'un  le  souffle  de^Ujet  1 'autre  derechef 
Le  resouffle  dela,  les  feuilles  de  eon  chef 
Volent  de  tous  oostez,  qui  jusqu'en  terre  ondoye.... 

Ou  comme  on  voit  les  bleds  espessements  plantez 
Branler  au  mo is  de  May  leurs  tuyeaux  esvantez, 

De^a  dela  pliez  sous  le  vent  de  Zephyre, 

Ou  sous  I'Austre  molteux:  l'un  a gauche  les  vire, 

L'autre  les  soufle  a dextre,  et  poussez  en  avant 

34Lau.,V,  159-160;  Ec* »IV>18-20 ,24,38,  40-41;  Geor.,1,  125-127,136. 
35Lau.,V,  161,162,163;  Aen. . VI,  645-647,  642-643; 651, 667-668. 
36Lau.,  V,  162;  VI,  27-28. 

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"Et  poussez  en  arriere  obeissant  au  vent: 

Ou  comme  un  tourbillon  qui  chased  ‘du  tonnerre... 

Puis  venteux  et  poudreux  s'eslance  dans  la  mer, 

Et  fait  I'un  dessus  1 'autre  horriblement  armer 
Lee  flots  qui  maintenant  aux  estoiles  s'egalent 
Malntenant  Jusqu'au  fond  de  I’arene  devalent."^^ 

The  fickleness  of  fate  should  be  resisted 

"....Ainsi  qu'un  rocher  oppose  au  vent  sa  teste^ 

Et  ses  pieds  endurcis  aux  flots  de  la  tempeste,"^® 

The  same  poem  has  another  imitation,  rather  free,  of  one  of  Ronsard'a 

favorite  Virgilian  passages,  - that  of  the  bliss  of  country  life  in 

comparison  with  city  life.^^  Ronsard,  like  Virgil,  expresses  his 

preference  for  the  country: 

"Quant  a moy,  j 'airae  mieux  ne  manger  que  du  pain, 

Et  boire  d'un  ruisseau  puis^  dedans  la  main, 

Sauter  ou  m'endormir  sur  la  belle  verdure, 

Ou  composer  des  vers  pres  d'une  eau  qui  murmur e. 

Voir  les  Muses  bailer  dans  un  antre  de  nuit,...."^ 

The  first  Pi scours  a 1^  Rovne  (1562) in  the  Discours  des 
Miseres  de  ce  temps  describes  conditions  in  France  as  they  were  at 
Rome  at  the  time  of  Caesar's  death.  Dire  comets  appear  and  the 
Seine  overflows  as  portents  of  what  is  to  come: 

"....Seine  qui  oouroit  d'une  vague  effrenee, 

Et  bestail  et  pasteurs  et  maisons  ravissoit, 

De  son  malheur  futur  Paris  avertissoit , 

Winged  Opinion  rioting  through  France^S  causes  brother  to  fight 

brother's  and  the  farmer  to  forge  his  sickle  into  a dagger: 


3?Lau.,  V,  181;  Aen. .IV.  441-444;  Qeor. .Ill . 196-199;  Aen. . II,  416- 
419;  I,  107;  Oeor . . Ill,  200. 

2®Lau.,  V,  182;  ^. , VII  , 586-589. 

39Lau. , V,  182-183;  "Heureux  donques  heureux"throayh''servement  achet6"j 
, Geor. . II,  458-473,  490-512. 

^Lau.,  V,  183;  Geor.,  II,  475-476  , 485-489. 

JjLau.,  V,  332-333;  Geor. . I,  488-490,  481-483,  464-465. 

^JLau.,  V,  334;  Aen.,  IV,  173,  666. 

"*^Lau.,  V,  334;  Geor. , I,  490. 


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68. 


” . . . .de  sa  faulx  tortile 
Le  laboureur  faconne  une  dague  pointue, 

Une  pique  guerriere  il  fait  de  son  rateau, 

Et  I'acier  de  son  ooultre  il  change  en  un  oouteau. . . . 

Le  desir^  1 'avari  ce  et  1‘erreur  insense 
Ont  sans  dessus  dessous  le  monde  renvers4.<- 
Au  Ciel  est  revolve  et  Justice  et  R&«iaon."44 

Everywhere  rages  the  god  of  sbril^  even  as  a horse  which  will  not 

obey  its  master: 

"Tout  va  de  pis  en  pis:  le  sujet  a brise 
Le  serment  qu'il  devoit  k son  Roy  mespris^: 

Mara  enfl6  do  faux  zele  et  de  vaine  apparance, 

Ainsi  qu'une  furie  agite  nostre  France: 

Qui  farouche  a son  Prince  opiniastre  suit 
L'erreur  d’un  estrangor,  et  folle  se  destruit. 

Tel  voit-on  le  Poulain  dont  la  bouche  trop  forte 
Par  bois  et  par  rochers  son  escuyer  emporte, 

Et  maugre  I'esperon  la  houasine  et  la  main 
Se  gourmer  de  sa  bride  et  n'obeir  au  frein: 

Ainsi  la  France  court  en  armes  divis^e, 

Depuis  que  la  Raison  n*est  plus  autorisde, 

But  the  queen  like  the  Virgil ian  shepherd  stopping  the  war  of  his 

bees  may  restore  order  in  the  nation: 

"Imitant  le  pasteur,  qui  voyant  les  armies 
Des  Abeilles  voUer  au  combat  anim^es, 

Et  par  I'air  a raonceaux  espaisses  se  raer, 

Se  percer  se  piquer  se  navrer  se  tuer, 

Puis  comrne  tourbillons  se  meslant  pesle-mesle . . . 

Portant  un  gentil  coeur  dedans  un  petit  corps, 

Il  verse  sur  leurs  camps  un  peu  de  poudre:  et  lore 

De  ces  soudars  ailez  le  pasteur  a son  aise 

Pour  un  peu  de  sablon  tant  de  noises  appaise."^® 

At  the  end  there  is  an  appeal  to  God  to  permit  the  queen  to  appease 

the  strife,  just  as  Tirgil  prays  that  Augustus  may  be  granted  power 

to  aid  a world  overturned: 

"0  Dieu  

Donne  (je  te  suppli)  que  cesta  Royne  mere 
Puisse  de  ces  deux  - camps  appaiser  la  colere."^” 

44Lau.,  V,  334;  Geor. . I,  506-508,  505;  II,  474. 

45Lau.,  V,  335;  Geor. . I,  510-514. 

46Lau.,  V,  335;  Geor. . IV,  67-87. 

^"^Lau.,  V,  336;  Geor. . I,  498-501. 


eiiJi.'J  s.:  oJb  . . . . ’ 

c*J3J.vi>  ^UUS  0;.nw';j.i.*l  I.:  •Tyo"  . f ©a 
.Cf.  . wi  iiOB.  :>ij  11  : If-I  r • f?rW 

a .g-'T  xR)  •: : i.l  i c ' '. 

: ;/ ‘ I ./■'  f ' X , . - l-4 

. .‘V"l-,.-.  S.X  - .•  AjJiia.  J'-'lO 

: J(-  .X  u 1 t ■ i J c.  ;,f  t<  J *i  ' 1 » V o T^J  flC  . Xo  iJfA 


'~f3iafl  24  Oi-  .1C'.  ,f!:  -..h  "■')  ' c .♦ 

.•Tf  9,^1  v?>.do 

, . -.  ‘•'iniiTC  &i' ' ?c?  t /vG  /^r.' i '..-<  ^X’^^:e 

2t  ; p’i..o  ;n  i c2>...  cI'iG*i  • ri;'*;p  isri  * 


.■'GGi:  oo  vXXc'J 


” V ii . 


LG  lit.  ' X 


..j  V..  i u^.’....i  . il  u -Jlov  XeT 
, c Jloo/'ir.  rr-^c.  riT»- . • • i • 7f>  'iO(/.ix:'T 

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:r.i  :':  j..,-  iie'C'.’’*'  *o  -.'i-r  .*:*  wi>  !.'.>.•’  _ij€- 

, , j:  t....z::  inG - : 1,.,-a.v  'voj’tjii''..  t>I  iftxiXA 

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aoiv;  •ViK*  4^*  X:  ijoq  ifu  ’Jdfot 


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: r.oQiiiJ  ftfl?  .ti-'iifco  i.'*;  dc  L&i  i.,.  :m  el  ©Terla  Xr-aj  -jiiJ  ih 


f-  7.4  . 

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■-T*  JJ*LH.3«8 


70. 


In  the  Epitaphe  de  Claude  de  1 * Aubeepine  (1571)  I'Aubes- 
pine  (who  is  compared  to  a flower  beaten  down  by  a storm  , Aen.IX. 
435-437)  is  mourned  for  by  a Dryad  like  the  mother  of  Daphnis  or 
Euryalus: 


”Et  consommant  de  tristesse  son  ame, 

D’ongles  poinctus  sa  poitrine  elle  entame, 

Et  frappant  I'air  da  cris  oontinuels, 

Nomme  les  Dieux  et  les  Astres  cruels, 

Rorapt  ses  ohevaux,  et  de  fureur  attaints 
Contra  la  Mort  poussa  telle  complaints. .. 

She  laments  that  she  has  outlived  the  dead  youth,  whose  premature 

death  is  figuratively  described  with  expressions  found  in  the 

Georgies: 

”Las.  oisillons  dedans  leur  nid  sans  plume 
Par  les  Pasteurs  ont  ainsi  de  coustume 
Estre  ravis,  aincois  que  leurs  beaux  sons 
Soient  entendus  de  buissons  en  buissons. 

Ainsi  voit-on  sous  la  tempests  dure 
Les  bleds  verses  en  leur  jsune  verdure, 

Et  sans  espoir  contra  terre  accropis 
Ains  que  le  ohaut  ait  meury  leurs  espis."^® 

Like  Orpheus  she  would  go  to  the  underworld  and  move  its  ruler  to 

permit  her  to  see  her  husband,^  She  would  even  give  her  life  for 

his: 

"Tu  fus  premierSjet  seconds  je  suis, 

Qui  ne  craindrois  sous  les  ombres  descendre 
Si  par  ma  mort  vif  je  le  pouvois  rendre. 

Toy  trespassant,  pour  mon  mal  appaiser 
Je  r’ammassay  do  ta  bouche  un  baiser, 

Qui  re spirant  sur  ta  levre  mourante 
Erroit  encor  d'une  haleine  odorant e." 51 

All  nature  weeps  at  the  death  of  Aubespine  as  it  did  at  Daphnis*. 

The  sorrow-stricken  are  compared  like  Orpheus  to  the  nightingale 

which  mourns  for  her  brood: 

48Lau.V,298;  ^,,V,23j  Aen.  .IX.  477-480  or  the  Trojan  women  Aen>I . 

480-481 . 

49Lau.,V,299,  Gopr . , IV, 512-513;  I,316-320;.III,  196-199. 
gDLau.,V,  299,Geor.,  IV,  467  ff. 

^^Lau..V.  300;  Aen..  XI.  162-163:  IV.  684-685.  

52Lau.,  V,  300-301;  V,  26-27. 


I 


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ndq^  lb  iinj  1.  .ii  -x.:'!  .i:*>m.t/Oia  «1 


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” ot;  r'jLiUi  B- * -'i* 

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.f>'iL-..*'i  <Sa-»via>  , . -.’v'  J iOjr  4-.m  i<* 

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, .'ti;  . :.-*JC'<J  . J nf;  '^XioOUJtTTl  ; 'u  ©1j 


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■ 1 if,'  J ‘zxii/’r^  iuon6  y icnw 

iT.;.'  --U  v' t?.  t iJ&  TL  i i?:'u  i^i<y(i(.vA  'lio  ri;J  .t.©t'  un  u.isaw  li-i 

^ -':  |r.i  5T..;  *, r/'briqTO  ciJiil  ©*Sx.  n‘j^oxrr: 5-ro'i‘ioa  pnY 


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. 0^;' X ^ I II J 1;  C'‘.  1 1 I ^ * **9.^^'/  tCc*.. ^ .Xx5>i^ 

. > > Vc^«|-  .VI  ^ , j^c.  , 7 , . :;iJ  J J® 

1 - ,VI  xr  ...Iv. 

. V;v-b;.  ^ ^L'O^-00^ 


71. 


"Nous  ressemblons  a ces  rossignolets, 

Qui  retournant  trouvent  leurs  nids  seulets 
Estant  allez  oheroher  quelque  bech^e 
Loin  du  taillis  pour  nourir  leur  niches, 

Qus  le  Pasteur  de  ses  ongles  courbez 
Cruellement  sans  plume  a desrohez. 

De9^  dela  d'une  complainte  aigue 
Er](grosse  voix,  en  longue  et  en  menue 
Entrecoupant  I'haleine  de  leurs  chants 
Et  jour  et  nuit  par  les  fueilles  nouvelles 
En  gemissant  redoublent  leurs  qaerelles."53 

The  Epitaph  de  Hugues  Sal el  (1554) , in  its  description  of 
the  other  world,  at  times  recalls  the  "^rtunaUNemora"  of  the  Aeneid 
and  the  Golden  Age  of  the  fourth  Eclogue « especially  in  the  follow- 
ing lines: 

"L'un  luitte  sur  le  sable,  et  1 ’autre  a I'escart  saute 
Et  fait  bondir  la  bale,  ou  1 'herbs  est  la  moins  haute. 

La  Orphe  habill^  d'un  long  surpdis  blanc 
Centre  quelque  laurier  se  reposant  le  flanc 
Tient  sa  lyre  cornue,  et  d'une  douce  aubade, 

En  rond  parmy  les  prez  fait  dancer  la  brigade.... 

La  le  boeuf  laboureur  d'un  col  morne  et  lasse 
Ne  reports  au  logis  le  coutre  renverse^ 

Et  la  le  marinier  d'avirons  n' importune 

Charg4  de  lingos  d'or,  I'eschine  de  Neptune: ... "54 

L 'Hynne  do  KLlux  et  de  Castor  a Caspar  de  Collignv  (1556) 
begins  with  an  epic  comparison  of  its  author  to  thunder  which  is 
followed  soon  after  by  a description  of  a sea  storm. The  first 
part  of  the  poem  is  addressed  to  Pollux  and  tells  of  his  adventure 
on  the  expedition  of  the  Argonauts.  A scout  sent  from  the  Argo 
to  explore  the  Bebrycian  land  where  the  ship  is  anchored  meets 
a sorry  individual  similar  to  the  one  seen  by  Aeneas  on  the  shores 
of  Sicily; 


53 

Lau.,  V,  301;  Geqr.,  IV,  511-515. 

54Lau.,  VI,  213;  A^. , VI,  642-647;  , IV,  38-41. 

55Lau.,  IV,  277-278;  Aen.,  VIII,  391;  I,  85,  86,  104-105,  87,  123, 
90,  89.  These  passages  are  not  very  close  to  Virgil. 


' '1 


'10 


N ■ n. 


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? .'  u n v.it  i‘  'i  t ; 

V <■*:■.•.  ♦:  '&*'  f"' 

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-./rvijrt  ftt  : 

; f ■ t ' .fj  > 

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72 


"Sa  bouohe  de  long  jeun  pallissoit  affamee, 

Sa  barbe  s’avalloit  d*un  poll  rude  at  crasseux,... 

Et  pour  habillecient  luy  pendoit  des  eschines 
Les  lambeaux  d'un  haillon  tout  recousu  d'espines." 

”....macie  confecta  suprema,  

....dira  inluvies,  imraiBsaaue  barba, 
consertum  tegumen  spinis;"^® 

The  wretched  sailor  in  weeping  declares  that  the  sailors  should  flee 
while  they  have  the  chance, 57  for  the  inhabitants  of  the  country 
are  like  the  Aetnean  Cyclops  who  pursued  the  abandoned  Greek  of  the 
Aeneid: 

"Comme  les  Etneans,  engence  abominable, 

Soit  de  nuict  soit  de  Jour  errent  dessus  le  sable 
Du  iord  Sicilien,  a fin  de  regarder 
Si  I'orage  d'hyver  fera  point  aborder 
Contrainte  par  le  vent  quelque  nef  d'aventure 
Pour  servir  au  Cyclop  de  sanglante  pasture:”^® 

A fierce  giant  towering  above  everybne  like  a tall  tree  in  a for- 
est, 59  rules  the  land  and  forces  every/one  whom  his  men  capture  to 
fight  him  hand  to  hand.  His  home,  like  Polyphemus*,  is  a cave 
reeking  with  gore.^  After  describing  this  den  the  sailor,  Timant, 
begs  for  aid,  or  death  from  human  hands: 


56Lau.,  IV,  279-280;  Aen . , III,  590,  593-594. 

57Lau.,  IV,  280;  Aen. . Ill,  640. 

58Lau.,  IV,  280;  Aen. . Ill,  622-625,  657-658.  This  comparison 
would  lead  one  to  think  that  Ronsard  had  Virgil  in  mind  when  he 
described  the  wretched  victim,  but  it  must  be^kdmitted  that 
Valerius  Flaccus  was  also  consulted  for  this  poem. 

59Lau.,  IV,  281;  Ec. , I,  25. 

60Lau.,  IV,  282;  Aen. . Ill,  617-619. 


r ■ 


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■T'  ’ ■ '■  ,JU?1  » 


73. 


”Pouroo  je  vous  suppli'  par  le  Ciel  respirable^ 

Par  I’air,  par  le  Sol  ell  soyez  moy  secourable, 

Ruez  moy  dans  la  mer,  ou  m'assommez  de  coups: 

Bref  si  J'ay  ce  bon-heur  que  de  mourir  par  vous, 

Heureuse  je  diray  ma  miserable  vie, 

Au  moins  si  je  la  voy  par  les  hommes  ravie. 

Ainsi  disoit  Timant,qui  les  genoux  tenoit 
De  Jason," 

"per  sidera  tester, 

per  supero^tque  hoc  caeli  spirabile  lumen, 
tollite  me  .... 

ppargite  me  in  fluctus  vastoque  immergite  ponto: 

5i  pereo,  hominum  manibus  periisse  iuvabit. 
dixerat  et  genua  amplexus  genibusque  volutans 
haerebat . "Si 

In  the  meantime  the  giant  Amyous  himself  appears  carrying  an  immense 
olubS2  and  walking  with  immense  strides 
" . . . . oomnie  un  Lyon  sauvage 

Qui  oit  le  plaint  d'un  Fan  en  \in  prochain  bocaga, 

Et  fait  depa  dela  ondoyer  en  allant 
Ses  crins  dessus  1 ' espaule^horribl ament  hurlant."S3 

He  comes  to  the  shore  where  some  of  the  Argonauts  are  already  start- 
ing fires  by  means  of  flint  and  are  making  other  preparations  for 

* n g . 

an  encampment  like  the  Troians  Aeneid  I.  At  the  sight  of  the 

sailors  he  is  mad  to  seize  such  a tender  prey  (using  the  same 

Virgil ian  figure  as  before): 

"Ne  plus  ne  moins  que  fait  un  grand  Tygre  affam^ 

Voyant  un  Cerf  au  bois,  de  son  front  desarm^." 

He  challenges  one  of  them  to  fight  him  and  at  Pollux's  acceptance 

he  measures  him  with  his  eye  as  a lion  his  pursuers: 

"... .ainsi  qu'un  grand  Lyon 
Qui  se  voit  enferme  d'un  espais  million 
De  chasseurs  et  de  chiens,  seulement  il  oeillade 
Geluy  qui  le  plus  pres  luy  dresse  I'embuscade, 

Et  le  veut  le  premier  (comme  un  hardy  veneur) 

Assaillir  et  tuer  pour  en  avoir  I'honneur." 

SlLau.  ,IV,  284;  Agn . , III,  599-60J,  605-608 

62Lau.,IV,  284;  Aen. , III,  659.  1:  ; - : / 

63Lau.,IV,  284;  Aen.,  X,  723-726.  ' 

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After  berating  Pollux  in  a haughty  tone 

"II  n'eut  pas  achevi  ^u'a  bae  11  ee  descharge 
De  la  peau  d'un  Lyon..., 

Et  nud  se  vint  planter  au  milieu  de  I’arene, 

Monstrant  sa  large  espaule,” 

"haec  fatus  duplicem  ex  umeris  reiecit  araictumj 
et  raagnos  membrorum  artus,  magna  ossa  lacertosque 
exuit  atque  ingens  media  constitit  harena."®*^ 

Pollux  also  prepares  for  the  fray  by  limbering  his  muscles: 

"II  secouoit  en  I’air  k ruades  ses  bras 
Escartez  5^  et  la." 

"bracchia  protendens  et  verberat  ictibus  auras."®® 

The  oaestus  fight  which  follows  is  very  much  like  that  between  En- 

tellus  and  Dares  in  Aeneid  V.  A valet  brings  out  two  pairs  of 

oaesti  for  the  combatants: 

"Dependant  un  valet  sur  le  rivage  apporte 
Des  caestes  emplombez  d‘une  pareille  sorts, 

Semblables  de  grosseur  largeur  et  pesanteurf" 

"Turn  caestus  pater  extulit  aequos 

et  paribus  palmas  amborum  innexuit  armis."^® 

Then  the  battle  begins: 

"Premierement  de  coups  11 s frapperent  le  vent. 

Puis  reculans  le  chef,  allongerent  devant 
Les  bras  pour  sauvegarde,  et  de  pres  accouplerent 
Leurs  mains  centre  leurs  mains  et  leurs  coups  redoublerent? 

"abduxere  retro  longe  capita  ardua  ab  ictu 
immisoentque  manus  manibus  pugnamque  lacessunt . 

relying  on  his  speed  and  skill  fights 

"ne  plus  ne  moins  qua  font 
Les  soldats  qui  par  ruse  embuscade  et  finesse 
Espient  lee  abords  de  quelque  forteresse, 

Descouvrant  d'un  oeil  prompt  ores  bas  ores  haut 
Le  lieu  le  plus  commode  a la  prendre  d'assaut." 

IV,  287;  V,  421-423. 

IV,  288;  , V,  377. 

IV,  288;  Aen , , V,  424-425,  In  the  caestus  fight  Ronsard  may 
have  imitated  Valerius  Flaocus  directly,  but  it  is  safe  to  say 
that  ha  did  not  forget  Virgil's  account  of  the  fight,  with  which 
he  had  been  familiar  long  before  he  had  heard  of  Flaccus. 

70Lau.,  IV,  289;  A^. , V,  428-429. 


The  one 


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"ille,  velut  celsam  oppugnat  qui  mol i bus  urbera 
aut  montana  sedet  circum  oastella  sub  armis, 
nunc  hos,  nunc  ill  os  aditus  omnemque  pererrat 
arte  locum  et  variis  adsultibus  inritus  urget." 

The  other  is  confident  in  his  firm  and  huge  form: 

”L 'autre  comme  un  rccher  qui  de  son  poids  s'asseure 
Sur  le  bord  Aegean,  en  sa  place  demeure 
Ferme  dessus  le  pied  et  sans  se  remuer 
Attend  que  cest  enfant  s'aille  sur  luy  ruer." 

"ille  velut  rupes,  vastum  quae  prodit  in  aequor, 
obvia  ventor\am  furiis  expostaque  ponto,.... 
ipsa  immota  manens, " 

"stat  gravis  Entellus  nisuque  immotus  eodem,"*^^ 
Pollux's  attack  is  also  compared  to  the  efforts  of  an  angry  sea 
against  a rock  from  which  it  is  repulsed, 73 

"Lors  la  fureur  demine,  et  la  raison  se  trouble, 

Un  coup  sur  1 'autre  coup  sans  cesse  se  redouble, 

Qui  plus  menu  que  gresle  erjbondissant  se  suit 
Ores  sur  I'estomac  qui  sonne  d'un  grand  bruit. 

Ores  dessus  le  ventre,  et  ores  sur  I'esohine." 

"Multa  viri  nequiquam  inter  se  volnera  iactant, 
multa  cavo  lateri  ingeminant  et  pectora  vastos 
dant  sonitus  , 

nec  mora,  nec  requies;  quam  multa  grandine  nimbi 
oulminibus  crepitant," 

"De  leurs  temples  oavez  les  deux  fosses  resonnent, 

Et  de  coups  redoubles  I'un  sur  1 'autre  abondants. 

Font  craquer  la  maschoire  et  claqueter  les  dents." 

" . . . . erratque  auris  et  tempora  circum 
crebra  manus,  duro  crepitant  sub  volnere  malae."'^ 

As  in  Aeneid  XII.  the  two  fighters  are  compared  to  two  bulls  who 

fight  while  the  rest  of  the  herd  watches  them: 

"Ne  plus  ne  moins  qu'on  voit  deux  toreaux  amoureux 
Fairs  au  milieu  d'un  prd  des  combats  valeureux. 


'^^Lau. , IV,  289;  Aen . , V,  439-442. 

72Lau,,  IV,  289;  Aen.,  X,  693-694,696;  V,  437. 
73Lau.,  IV,  289;  4^.,  VII,  586-589. 

74Lau.,  IV,  290;  A^n.,  V,  433-435,  458-459,  435-436. 


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"Et  B0  laver  de  sang  la  peau  du  co]^endante, 

Et  sa  tronquer  du  front  la  oorne  menaseanta^ 

Pour  1 'amour  d'une  vaciie:  autour  d'eux  est  muet 
Tout  le  menu  troupeau,  qui  encorae  na  scait 
Qui  leur  doit  commander,  et  qui  parmy  I"' herbage 
Veinqueur  aura  tout  soul  la  vaohe  en  mariage."75 

Amyous  becomes  angered  at  his  lack  of  ability  to  overcome  Pollux 

immediately: 

"Amyous  enflame  d'\ine  bouillante  rage, 

Ramassant  son  esprit  redoubla  son  courage, 

Et  faisant  reculer  Pollux  en  ohaque  coing, 

Ores  du  poing  senestre,  ores  de  1 'autre  poing, 

D'une  main  sans  repos  le  tourne  et  le  secoiie, 

Et  de  ses  bourrelets  luy  fait  sonner  la  joue, 

L'estomac  et  le  flanc,  ne  laissant  sojourner 
Son  pied,  sans  le  pousser,  tourmenter  et  tourner." 

"acrior  ad  pugnam  redit  ac  vim  suscitat  ira. 
turn  pudor  incendit  viris  et  conscia  virtus, 
praecipitemque  Daren  ardens  agit  aequore  toto, 
nunc  dextra  ingeminans  ictus,  nunc  ille  sinistra." 

When  Pollux  slips  on  a stone  and  momentarily  falls, 

"...Lore  les  Bebryciens 
D'aise  firent  un  bruit" 

"consurgunt  studiis  Teucri  et  Trinaoria pubes; 
it  clamor  oaelo;"77 

Amyous  by  a powerful  blow  seeks  to  end  the  conflict,  but  Pollux 
dodges  it: 

"...en  dressant  le  bras, 

Luy  mesura  le  chef  pour  ne  le  faillir  pas: 

Puis  soudain  comzne  foudre  il  deschargea  sa  dextre, 

Mais  en  vain:  car  Pollux  d'une  cau telle  adextre 

A chef  baiss^  coula  sous  luy  si  finement 
Que  le  bras  ne  toucha  que  le  dos  seuleraent." 

"ostendit  dextram  insurgens  Entellus  et  alte 
extulit;  ille  ictura  venientem  a vertioe  velox 
praevidit  oelerique  elapsus  corpore  oessit; 

Entellus  viris  in  ventum  effudit . . . . 


T5Lau. , 

IV, 

290; 

Aen. , 

XII 

, 715-722 

*76Lau. , 

IV, 

291; 

Aen. , 

V, 

454-457 

'^'^Lau. , 

IV, 

291; 

Aen . , 

V, 

450-451 . 

78Lau. , 

IV, 

292; 

Aen . , 

V, 

443-446. 

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78. 


Amyous  falls  with  a great  noise,  as  falls  a huge  pine  tree: 

”11  fist  en  trebu chant  un  grand  bruit  au  rivage, 

Non  autrement  qu'un  Pin,  quand  le  venteux  orage 
Deracine  sa  souche,  et  le  fait  trebuoher 
Tout  d’un  coup  lourdement  du  feste  d'un  rocher: 

Ce  grand  Pin  en  tombant,  d'une  longue  traverse 
Avecques  un  grand  bruit  tous  les  buissons  renverse." 

"ipse  gravis  graviterque  ad  terram  pondere  vasto 
concidit,  ut  quondam  cava  concidit  aut  Eryaaantho 
aUt  Ida  in  magna  radicibus  eruta  pinus."'^® 

In  the  Dialeotiaue  of  Pierre  de  La  Ra.n4e®^  there  are  trans- 
lations by  Ronsard  of  brief  selections  from  a number  of  classic 

authors  among  whom  Virgil  naturally  has  a prominent  place.  The 

the. 

first  translation  from  Virgil  is  of  the  passage  of^ Aeneid  in  which 
sailors  are  said  to  have  made  offerings  to  the  gods  who  brou^t 
them  safely  to  port: 

"La  de-fortune  estoit  un  olivier  sauvage. 

Bo is  jadis  venerable,  oh  sauvez  de  naufrage 
Les  mariniers  souloyent  leurs  offrandes  ficher, 

Et  leurs  habitz  voiiez  au  Dieu  Faune  attacher.”ol 

Other  translations  are: 

The  words  of  Menalcas  and  Damoetas  describing  cups: 

"Je  raettray  deux  hanaps,  qu  'Alciaede  au  burin 
A gravez  au  fouteau  un  ouvrage  divin.... 

Ce  raesme  Alcimedon  d'un  ouvrage  divin 
Deux  hanaps  au  fouteau  m'a  gravez  au  burin. 

The  power  of  the  winds  rushing  over  the  seas: 

"Tout  aplat  sur  la  mer  les  ventz  couchez  se  sont. 

Touts  la  renversant  du  hault  jusqu'au  profond, 

L'Est, ensemble  le  Su,  1 'Quest  impetueux: 

Et  font  rouller  au  bort  les  grandz  flotz  escumeux."83 

79Lau.,  IV, 292;  , V,  447-449. 

QOParis,  A.  Wechel,1555.  Ronsard' s name  is  printed  on  the  margin 
either  at  the  end  of  the  first  verse,  at  the  end  of  a verse  in  the 
middle  of  the  citation, or  at  the  end  of  the  last  verse. 
ojLau.,  VI,  396;  Aen. , XII,  766-769. 

S^Lau.,  VI,  397;  Ec . , III,  36-37,  43-M. 

83Lau,,  VI,  397;  Aen.,  I,  84-86. 


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79. 


The  instructions  given  by  Ancbises  to  Aeneas  in  the  under- 
world: 


”Aie  tousjours  souvenance,  o Remain, 

De  gouverner  les  peuples  soubz  ta  main 
Par  un  t^l  art:  en  paix  faire  des  loix, 

Les  glorieux  vainore  par  le  harnois, 

Et  aux  vaincus  soumis  a ta  puissance 
User  benin,  d'une  doulce  olemence."84 

Rome’s  greatness  to  be: 

"Caste  Rome  fameuse, 

Laquolle  esgallera  au  grand  tour  spacieux 
Du  monde  son  empire  et  son  courage  aux  cieux."°° 

The  riddles  asked  by  Damoetas  and  Menaloas: 

"Dy  moy  en  quelle  terre  on  ne  voit  seulement 
Que  trois  brasses  de  ciel,  et  me  seras  vrayment 

Un  certain  Apollon  en  choses  difficile 

Dy  moy  en  quelle  terre  on  voit  naistre  les  fleurs  I 

Ayantz  le  nom  des  roys  escript  sur  leurs  couleurs, 

Et  tu  auras  tout  seul  Phyllis,  la  belle  fille."86 

Corydon's  warning  to  Alexis: 

"0  bel  enfant,  ne  te  fie 
Par  trop  en  ta  belle  oouleur, 

Souvent  on  cueil  ’la  noire  fleur, 

Et  la  blanche  chet  fanie."®*^ 

The  beginning  of  the  second  Georgio: 

"Jusqu'a  ces  vers  icy  nous  avons  par  nos  chantz 
Diet  les  astres  du  ciel  et  le  labeur  des  champs: 

Or  Bacchus  je  te  chante,  et  les  saulvages  plantes, 

Et  tardement  aussi  les  olives  nais^antes."®^ 

The  fact  that  these  passages,  most  of  which  may  be  found 
incorporated  in  various  poems  of  Ronsard,  are  so  widely  scattered 
throughout  Virgil  is  further  proof  that  Ronsard  was  familiar  with  all, 
parts  of  Virgil. 

®^Lau.,  VI,  398j  , VI,  851-853. 

^^Lau.,  VI,  400;  AejS.. , VI,  781-782. 

86Lau.,  VI,  400-401;  , III,  104-107. 

o^Lau.,  VI,  402;  , II,  17-18. 

°°Lau.,  VI,  404;  Geor. . II,  1-3. 


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80. 


THE  ECLOGUES 


The  section  of  the  1584  edition  of  Ronsard’s  works  which 
contains  the  eclogues^  consists  of  a dedicatory  poem  to  the  Prince, 
Francois,  Duke  of  Anjou;  five  eclogues,  the  first  of  which  is  the 
Ber^erie;  a chant  uastoral;  and  the  poem,  Lo  Cvclope  amoureux.  The 
dedi  action  begins  with  lines  which  recall  the  end  of  the  fourth 
Georgio: 

”Tandis  que  la  vaillance,  ame  d'un  bon  courage, 

Yous  pousse  a regaigner  I’ancien  heritage 
Des  Princes  vos  ayeuls,  et  qu’ami  du  harnois 
Vous  marquez  plus  avant  les  bornes  des  Franjois, 

Aimant  mieux  la  sueur,  la  poudre  et  la  proubsse, 

Que  roiiiller  au  Plessis  vos  beaux  ans  do  paresse: 

Paris  mo  tient  ici,  ou  par  1 ' impression 
J’ envoys  mes  enfans  en  toute  nation 
Conceus  de  mon  esprit  par  une  ardente  verve, 

In  the  sources  of  the  eclogues  proper,  Virgil  occupies  a 

very  important  position.  But  since  Ronsard  knew  the  neo-latinist 

and  Italian  pastoral  poets,  who  were  imitators  of  Virgil,  not  to 

mention  Theocritus,  Virgil’s  own  model,  it  is  not  always  possible  to 

say  when  he  is  borrowing  directly  from  Virgil.  It  can  be  said, 

however,  that  Ronsard  knew  Virgil  first  and  more  thoroughly  than  the 

that 

others, 3 that  he  admired  him  more,  and^when  he  was  imitating  the 
others  he  knew  exactly  how  much  of  Virgil  he  was  imitating  indirect- 


^Lau.,  Ill,  351-457.  There  are  many  other  pastoral  poem.s  in  Ronsard, 
the  Virgilian  elements  of  which  are  considered  elsewhere  in  this 
article . 

2La.u.,  Ill,  353;  Geor.,  IV,  559-566. 

3as  mentioned  above  (note  3,  Part, II)  Ronsard  probably  imitated  the 
Eclogues  at  an  early  age. 


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81. 


ly.  Virgil  under  the  name  of  Tityre,  is  mentioned  oftener  in  the 
Eclogues  than  any  other  pastoral  poet: 

"J'ay  veu  le  fleuve  d’Arne  et  le  Mince  cornu, 

Qui  Qst  par  le  berceau  de  Tityre  cognu, 

Ou  le  Due  Mantouan  ennemy  de  tout  vice 
Aux  peuples  see  sujets  administre  Justice. ”4 

There  is  scarcely  a page  of  Ronsard’s  eclogues  which  does  not  have 
some  idea  or  expression  corresponding  to  one  in  Virgil,  but  since 
Ronsard's  first  eclogue  has  more  lines  than  all  ten  of  Virgil’s  to- 
gether, there  is  of  necessity  much  development  of  ideas  not  found 
in  Virgil  and  also  a great  repetition  of  details  which  are  in  Vir- 
gil. The  Georgies,  too,  are  frequently  used.  As  has  been  said  be- 
fore, Virgil's  Eclogues  are  among  those  poems  which  in  the  Defense 
et  Illustration  are  specifically  nciraed  to  be  used  as  models.  Aside 
from  the  translations  of  passages  of  the  Eclogues  quoted  above  from 
the  Dialectiaue  of  la  Ramee,  Ronsard  himself  refers  directly  to 
them  in  a letter  to  Antoine  de  Baif  where  a line  of  the  fifth 
Eclogue  is  quoted. 5 

The  Bergerie . first  published  in  1565,  is  a dramatic  pas- 
toral, the  principal  characters  of  which  are  members  of  the  royal 
family  under  disguised  names.  The  setting  is  in  ajeave  like  the 
fifth  Eclogue.^  After  the  various  shepherds  and  shepherdesses  have 
offered  stakes  for  a song  contest,  Orleantin  sings  of  the  sorrow  and 
grief  attendant  upon  the  death  of  the  prince,  - there  are  bloody 

^Lau.,  Ill,  385.  Other  references  to  Tityre  are  in  Lau. ,111,381,386, 
406,  409,420,434.  Virgil  speaks  of  himself  as  Tityrus  in  Eclogue  I 
and  in  Geor . . IV,  566  mentions  his  eclogues  as  the  songs  of  Tityrus. 
SLsu.,  VII,  132j  M.  V,  64. 

6^.,  V,  6,  19. 


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82. 


Wars,  the  sun  refuses  to  shine,  and  ploughs  lie  dishonored.*^  Finally 
a Nymph,  worthy  of  an  altar,®  like  Augustus,  takes  pity  on  the  na- 
tion and  permits  the  inhabitants  to  take  up  again  their  former  lifei 
"Pasteurs,  comme  devant 

Entonnez  vos  chansons  et  les  joiiez  au  vent,... 

Et  menez  desormais  par  les  prez  vos  toreaux,... 

Elie  nous  rebailla  nos  champs  et  nos  bocages."® 

Angelot's  funeral  eulogy  for  Henry  II  which  follows  is  a very  close 


imitation  of  the  fifth  Eclogue.  At  his  death  the  flocks  did  not 
eat  or  drink,  the  sun  hid  itself,  the  Nymphs  and  even  the  lions 
wept.^^ 

"Tout  ainsi  que  la  vigne  est  I’honneur  d'un  ormeau, 

Et  I'honneur  de  la  vigne  est  le  raisin  nouveau, 

Et  I'honneur  des  troupeaux  est  le  Bouc  qui  les  meine, 
Comme  lee  espies  sont  I'honneur  de  la  plains, 

Et  comme  les  fruicts  meurs  sont  I'honneur  des  vergers, 
Ainsi  ce  Henroit  fust  I'honneur  des  Bergers. 

Quantesfois  nostre  soc  depuis  sa  mort  cruelle 
A fendu  les  guerets  d'une  peine  annuelle.' 

Qui  n'ont  rendu  sinon  en  lieu  de  bons  espies 
Qu  'Yvraie,  qu  'Aubifoin,  que  Ponceaux  inutils.'.... 

Pasteurs,  en  sa  faveur  semez  de  fleurs  la  terra, 
Ombragez  les  ruisseauxde  pampres  et  de  lierre, 

Et  de  gazons  herbus  en  toute  saison  verts 
Dressez  luy  son  sepulcre  et  y gravez  ces  vers;" 

"vitis  ut  arboribus  decori  est,  ut  vitibus  uvae, 
ut  gregibus  tauri,  segetes  ut  pinguibus  arvis, 
tu  decuB  omne  tuis 

grandia  saepe  quibus  mandavimus  hordea  sulcis, 
infelix  loliiim  et  steriles  nascuntur  avenae; 
pro  molli  viola,  pro  purpureo  narcisso 
carduus  et  spinis  surgit  paliurus  acutis 
spargite  humum  foliis,  inducite  fontibus  umbras, 
pastores  (mandat  fieri  sibi  talia  Daphnis), 
et  tumulum  facite  et  tumulo  superaddite  carmen; 


'J'Lau.,  111,367-368;  Geor.  . I,  489-480,467,506-507. 

8Lau.,  Ill,  368;  Ec . , I,  7-8. 

®Lau. , III,  369;  , I,  45-46. 

lOLau.,  Ill,  370;  Ejj.,  V,  25-26;  Geor. . I,  467;  Ec*>V,  20-21,27-28. 
llLau.,  Ill,  370-371;  Es.,  V,  32-34,  36-42. 


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83. 


The  epitaph  is  different  from  that  in  Virgil,  but  the  lines  just 
quoted  and  also  the  following  are  so  close  to  Virgil  that  they 
could  almost  be  called  translations.  The  exaltation  of  Henry  to 
the  stars: 

”Tu  vis  la  haut  au  Ciel,  ou  mieux  que  paravant 
Tu  vois  dessous  tes  pieds  les  astres  et  le  vent, 

Tu  vois  dessous  tes  pieds  les  astres  et  les  nues,.... 

Et  pouroe  nos  forests,  nos  herbes  et..jaos  fontaines 
Se  souvenant  de  toy,  murmurant  en  tout  lieu 
Que  le  bon  Henroit  est  maintenant  un  Dieu. 

Sois  propice  a nos  voeux;" 

"Candidus  insuetum  miratur  limen  Olympi 
sub  pedibusque  videt  nubes  et  sidera  Daphnis.... 
ipsi  laetitia  voces  and  sidera  iactant 
intonsi  monte^j  ipsae  iam  carmina  rupee, 
ipsa  sonant  arbusta:  'deus,  deus  ille,  Menalca! * 
sis  bonus  o felixque  tuis.'"12 

Each  year  the  shepherds  will  make  offerings  to  him  and  sing  at  his 
tomb.^^ 


" . . . . tant  qu’on  verra  les  eaux 
Soustenir  les  poissons,  et  le  vent  les  oiseaux. 

Nous  aimerons  ton  nom,"14 

15 

As  to  the  other  gods,  so  to  Henry  the  shepherds  will  do  service. 

Navarrin  sings  of  the  Golden  Age  without  war,  of  animals 
speaking,  of  fields  xmlimited,  of  earth  producing  all  things  with- 
out toil,  of  the  eternal  springtime,  of  freedom  from  poison  plants 
and  of  the  presence  of  spices  everywhere,  but  age  followed  by 
( the  coming  of  sorceresses  who  enchant  the  moon  and  change  shepherds 
I into  wild  beasts.^® 

I 

I Guisin  sings  of  the  glorious  age  which  will  be  ushered  in 

I by  the  Prince  Charles,  as  the  child  of  the  fourth  Eclogue.  Before 

i-' 

1 

1 

I 13Lau.,  Ill,  371-373;  E^,  V,  56-57;  63-65. 

; 13Lau.,  Ill,  373;  Ec . , V,  67,  73. 

'■14Lau.,  Ill,  373;  Ec . , V,  76-78. 

ISLau.,  Ill,  373;  Ec.,  V,  79-80. 

16Lau., III. 373-4;Geor., II, 539-540; I, 478, 136-128; II, 338; Ec., IV, 34,35, 

. — — 


84. 


his  coming 

"On  fsra  pour  tenir  les  villes  assaur^es 

Des  fossez,  des  rampars,  des  ceintures  mur^es 

On  fera  da  rateaux  des  poignantes  esp4es. 

Las  faucilles  seront  an  lames  detramp^es, 

L'avantureux  Nocher  d' avarice  conduit 

Ira  voir  sous  nos  piads  1 'autre  Pole  qui  luit. 

D'autras  Tiphys  naistront,  qui  pleines  da  hardiesse 
Esliront  par  la  France  encore  une  jeunesse 
De  Chevaliers  errans  dans  Argon  enfarmez: 

Encore  on  voirra  des  Achilles  armez 
Combatre  devant  Troye,  17 

But  when  the  prince  .has  become  a man  all  vices  will  pass  away  and 

there  will  be  no  more  sailing  over  the  seas:^® 

" car  sans  voguer  si  loin 

La  terre  produira  toute  chose  sans  soin. 

Mere  qui  ne  sera  comma  devant  feriie 
De  rateaux  a^igdisQZ  ny  de  soc  de  chariie."!® 

Wine  will  run  in  streams,®^ 

"Le  miel  distillera  de  I'escore  des  chesnes, 

Le  belier  en  paissant  au  milieu  d'un  pr6  vert 
Se  voirra  tout  le  dos  d'escarlete  couvert, 

De  pourpre  I'aignelet,  ,...,"21 

Margot's  song  is  another  imitation  of  Virgil's  praise  of 
Italy,  but  it  does  not  follow  the  Latin  model  so  closely  as  does 
the  Hymne  de  France . The  song  like  Virgil,  protests  that  other  na- 
tions cannot  compare  with  France,  declares  there  are  no  lions,  dra- 
gons, or  poison  plants  there,  introduces  mention  of  geographical 


features  with  rhetorical  questions,  speaks  of  cities  girded  by 
streams  and  of  the  two  seas,  and  lists  the  heroes. it  further  de 
Clares  that  the  noble  royal  house,  like  Augustus,  gives  back  to  the 
shepherd  the  cattle  he  has  lost: 


l^Lau.,  Ill 
Ill 

J9l.au.,  Ill 
^Lau.,  Ill 
|lLau.,  Ill 
92Lau.,  Ill 
167-172. 


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377;  , IV,  32-33;  Geor . , I,  508;  , IV,  32,  34-36. 

377;  Ec. , IV,  37-39. 

377- 378;  Ec . , IV,  39-41, 

378;  Geor. . I,  132. 

378;  Ec.,  IV,  30,  42-45. 

378- 380;  Geor. . II,  136-139,  151-154,  158-164,  157,  158, 


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85. 


”C0Bte  noble  maison 

Luy  reclonne  ses  boeufs,  see  ohampe  at  son  es table,,.. 

Le  rend  riche  et  gaillard,  et  luy  apprend  a dire 
Par  les  hautee  forests  les  chansons  de  Tityre."23 

In  the  closing  lines  of  the  song  there  is  a salutation  to  France. 

The  rest  of  the  poem  has  no  direct  borrowing  from  Virgil. 

In  the  second  eclogue  of  Ronsard  there  is  not  any  long 
continued  imitation  of  Virgil,  but  a few  lines  are  close  to  Virgil 
as  Aluyot's  first  meeting  of  his  sweetheart  in  his  mother's  garden: 

"J'ay  I'ame  touts  esmeue  et  le  coeur  tout  ravi, 

Quand  je  pense  en  ce  jour  ou  premier  je  te  vy 
Porter  un  beau  panier  (ainsi  qu'une  bergere) 

Allant  cueillir  des  fleurs  au  jardin  de  ma  mere: 

Si  tost  que  je  te  vy,  si  tost  je  fu  deceu, 

Je  me  perdi  raoy-mesme," 

"saepibus  in  nostris  oarvara  te  roscida  mala 
(dux  ego  vester  eram)  vidi  cum  matre  legentem. 
ut  vidi,  ut  perii!  ut  me  raalus  abstulit  error! 

The  continual  burning  of  love  in  spite  of  the  sun's  setting: 

"Le  Soleil  est  couche:  mais  I'ardeur  qui  me  poingt, 

Ne  se  couche  jamais...." 

"et  sol  orescentis  decedens  duplicat  umbras: 
me  tamen  urit  amor; 

and  the  idea  of  each  one's  following  his  own  desire: 

"L'Aigneau  suit  I'herbe  courte,  et  le  doux  Chevrefueil 
Est  suivi  de  la  Chevre,  et  le  bois  du  Ch6vreil: 

Chacun  suit  son  desir." 

"torva  leaena  lupum  sequitur,  lupis  ipse  oapellam, 
florentem  cytisum  sequitur  lasciva  capella, 
te  Corydon,  o Alexi:  trahit  sua  quemque  voluptas."^^ 

I 

The  beginning  of  Ronsard' s third  eclogue  is  a free  imita- 
tion of  the  fifth  and  seventh  Virgil ian  Eclogues . where  two  sh^- 
herds  both  good  singers  meet  for  a match  in  a cave;  the  general  plan 

23Lau. , III,  381;  , I,  45-46. 

2|Lau.,  Ill,  381;  Geor. . II,  173-176. 

2°Lau.,  Ill,  400-401;  Ec . , VIII.  37-38,  41. 

26Lau.i  III,  402;  Ec . , II,  67-68. 

27Lau.,  Ill,  405;  E^. , II,  63-65. 


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86. 


follows  the  third  Eclogue . - a shepherd  coming  along  by  chance  is 

chosen  for  judge  and  after  speaking  of  the  beauty  of  the  spot  asks 

the  songsters  to  begin: 

”Mais  qui  nous  jugera?  qui  en  prendra  so in? 

Vois-tu  oe  bon  vieillard  qui  vient  a nous  de  loin?.... 

Ici  le  bois  est  verd,  I'herbe  fleurist  ici, 

Ici  les  petits  monts  les  campagnes  emmurent, 

Ici  de  toutes  parts  les  ruisselets  murmurent; . . . . 

Sus  done  chante,  Bellot,  commence  quelque  chose: 

The  end  is  more  like  the  fifth,  although  it  is  like  the  third  in 

so  far  as  the  judge  cannot  decide  which  is  the  better  singer: 

"Vostre  fleute,  garsons,  a I'oreille  est  plus  douce 
Que  le  bruit  d'un  rulsseau  qui  jaze  sur  la  mousse,... 

Que  ohacun  par  accord  s’entre  donne  son  gage: 

Perrot,  pren  le  panier,  et  toy  Bellot  la  cage:”2S 

The  fourth  eclogue  is  a much  closer  imitation  of  Virgil. 
Much  of  the  introductory  passage  is  modeled  directly  from  the  be- 
ginning of  the  seventh  Eclogue  with  a slight  blending  of  the  fifth. 
A shepherd  and  goat  herder  meet  by  chance: 

"De  fortune  Bellot  et  Perrot  dessous  1’ ombre 
D’un  vieil  chesne  touffu  avaient  serr4  par  nombre, 

L'un  a part  ses  brebis,  et  1 'autre  ses  chevreaux. 

Et  tous  deux  sur  la  I6vre  avaient  les  chalurneaux: " 

"Forte  sutjhrguta  consederat  ilice  Daphnis, 
compule rant que  greges  Corydon  et  Thyrsi s in  unum, 

Thyrsis  ovis,  Corydon  distentas  lacte  capellas, 
ambo  florentes  aetatibus.  Arcades  ambo, 
et  con tare  pares  et  respondere  parati."^^ 

goat-herder  looking  for  a strayed  goat  comes  upon  them: 

"Voicy  venir  Beilin,  qui  seul  avoit  erre 
Tout  un  jour  a chercher  son  belier  adire," 

"hue  mihi 

vir  gregis  ipse  caper  deerraverat,  atque  ego  Daphnim 

aspicio. "31 

III,  411-413;  Ec. , III,  50,  56-58. 

Ill,  417;  ^.,  V,  82-85;  III,  108-109. 

Ill,  427;  j^.,  VII,  1-5. 

Ill,  427,  Ec.,  VII,  6-7. 


Another 


28Lau . , 
29Lau . , 
^^Lau. , 
3lLau. , 


87. 


One  of  the  two  call  to  Beilin.  (There  is  here  an  inversion  in  Vir- 
gil of  the  person  addressed  and  the  one  who  addressee) : 

si  tost 

"Si  tost  que  je  le  vy:^je  le  cognu, 

Et  luy  criay  de  loinJ  Tu  sois  le  bien-venu, 

Couche  toy  pres  de  nous,  ou  si  le  mol  ombrage 

Du  chesne  te  desplaist,  voy  cest  Antre  sauvage, 

Une  vigne  sauvage  est  rampant  sur  la  port, 

Qui  en  se  recourbant  sur  le  ventre  se  porte 
D'une  longue  trainee,  et  du  haut  jusqu'a  bas 
D’infertiles  raisins  laiese  pendre  ses  bras. 

These  last  lines  are  from  the  fifth  Eclogue . but  here  the  decision 

is  in  favor  of  the  shade  of  the  oak  instead  of  the  cave.  There  are 

several  reminiscences  of  Virgil  in  the  speeches  of  Beilin  and  Per- 

rot  - a thief  detected  runs  to  hide  behind  a hedge  and  a dog  barks 

at  another  thief. 33  The  last  lines  of  Perrot's  speech  are  based 

on  three  Virgil ian  lines: 

"Les  bois  ne  sont  pas  sourds,  ils  pourront  t'escouter. 
Echon  nous  respondra,  et  nous  ferons  egales 
Nos  rustiques  chansons  a la  voix  des  Cygales. 

Chanton  I'un  apres  1 'autre,  et  en  ceste  facon 
Que  Phoebus  aime  tant,  disons  une  chanson. "34 

The  tone  and  plan  of  all  the  rest  of  this  poem  is  imitated  from 

the  contest  of  Daraoetas  and  Menalcas  in  the  third  Eclogue,  but  it 

is  blended  with  ideas  from  many  of  the  other  Eclogues . Like  the 

two  Latin  bards,  both  Bellot  and  Perrot  begin  with  invocations  to 

different  gods: 

"Mes  vers  au  nom  de  Pan  il  faut  common cer^  Muses: 

Pan  est  Dieu  des  P asteurs,  il  a de  moy  souci^ 

II  daigne  bien  danser  dessows  mes  cornemuses 
Il  a soin  de  la  France  et  de  mes  vers  aussi. 

Au  sainct  nom  de  Pal^s  il  faut  que  je  commence: 

Pales  ainsi  que  Pan  aime  les  Pastoureaux, 

Diane, 

Ill,  428;  VII,  8;  ^. , V,  5-7. 

Ill,  429-430;  Ec,,  III,  17-18,  20. 

Ill,  430;  Ec.,  X,  8;  II,  13;  III,  59. 


32Lau. , 
33Lau . , 
34Lau. , 


86 


"Ne  cognoist  pas  si  bien  en  courant  a la  chasse 
La  meute  de  ses  chiens  comrne  elle  me  cognoist. 
Phoebus  le  ohevelu,  Dieu  qui  preside  a Cynthe, 

If 'aims  plus  que  son  Luth:  je  fais  sa  volonte, 

Tousjours  ses  dons  je  porte,  au  sein  son  Hyacinthe, 
Son  Laurier  sur  le  front,  sa  trousse  a mon  coste"35 


Both  mention  their  loves  and  their  gifts  to  them: 

"Deux  petite  ramereaux  je  porte  a mon  Olive, ^ 

Denichez  d’un  grand  orrne  a gravir  mal-aise, . . . . 

II  ne  faut  comparer  ma  Bergere  a la  tienne, .... 

La  tienne  est  toute  brune,  et  tu  sgais  que la  mienne 
(Tu  la  vis  1 'autre  jour)  est  plus  blanche  que  liz. 

La  coulour  blanche  tombe,  et  la  couleur  brunette 
Est  tousjours  en  saison,et  ne  se  fletrit  pas; 

On  cueult  du  Baciet  la  fleur  toute  noirette, 

Le  liz  qui  est  tout  blanc,  bien  souvent  tombe  a bas.... 
lion  mast  in,  garde  bien  de  mordre  ma  mignonne 
Si  elle  vient  me  voir...." 


"Parta  meae  Veneri  sunt  muneraJ  namque  notavi 

ipse  locum, aeriae  quo  oongessere  palumbes 

quamvls  ills  niger,  quamvis  tu  candidus  esses? 
o formose  puer,  niraium  ne  crede  colori: 
alba  ligustra  cadunt,  vaccinia  nigra  leguntur.... 
notior  ut  iam  sit  canibus  non  Delia  nostris.''36 


Both  sing  of  friends  and  contemporary  poets: 

"Que  tousjours  Avanson  raaugr^  I'dge  fleurisse: 

Car  il  aime  les  vers,  et  tous  ceux  qui  les  font. 

Je  pais  h,  son  honneur  une  belle  Genisse, 

Qui  de  blanche  couleur  porte  une  estoile  au  front. 

Mon  Du-thier  dans  le  Ciel  puisse  prendre  sa  place, 

Il  aime  ceux  qui  vont  les  Muses  poursuivant: 

Je  luy  pais  un  Toreau  qui  les  Pasteurs  menace 
De  la  come,  et  du  pied  pousse  I'arene  au  vent. 

Quiconque  aime  Avanson,  par  ses  champs  toutes  choses 
Luy  puissent  a souhait  venir  de  toutes  pars: 

Quelque  part  qu'il  ira  les  oeillets  et  les  roses, 

Et  fust-ce  aux  jours  d'hyver,  luy  naissent  sous  le  pas. 

Quiquonquo  aime  Du-thiar,  qu'il  flechisse  les  marbres." 

"Pollio  amat  nostram,  quamvis  est  rustica,  Musam: 
Pierides,  vitulam  lectori  pascite  vestrc. 

Pollio  at  ipse  facit  nova  carmina:  pascite  taurura, 

iam  cornu  petat  et  pedibus  qui  spargat  harenam. 

Qui  te,  Pollio,  amat,  veniat,  quo  te  quoque  gaudet; 
mella  fluant  illi,  ferat  et  rubus  asper  araomum*  ^ 

Qui  Bavium  non  edit,  amet  tua  carmina,  Maevi . . . . ' 

35Lau.,III,4bd,431jEc. ,lll,60jll,33;  V. 58-59; Geor ., Ill .1 ; Ec . .III. 

67,  62-63. 

36Lau.  ,111,431-432;^.  ,111,68-69; II, 16-18; III, 67. 

« , 1 1 1 , , 1 1 1 , 04-9U . ■ 


Then,  both  turn  to  purely  pastoral  topics: 

”Mai3  d'o^i  vient  qua  raon  bouc,  qui  sautoit  si  alaigra, 

Qui  gaillard  dans  cas  prez  cossoit  contra  tnes  boeufs, 
Dapuis  qu’il  vit  ta  chevre,  ast  devenu  si  maigra? 

Ja  ne  spay  qu'il  auroit,  s'il  n'estoit  amoureux. 

La  chevra  qua  tu  dis,  sur  une  pierre  dure 
Avorta  1 'autre  jour, 

Je  cognois  das  Pasteurs,  qui  nos  boeufs  ensorcellent 
De  regards  enchantaz . . . . 

Hou  mast in  I va  chasser  mon  bouc  qua  je  voy  pendre 
Sur  le  haut  de  ce  roc,  il  pourroit  trebuchar: "38 

Allusions  to  two  other  Eclogues  precede  these  last  two  lines,  - 

the  power  of  love  and  the  engraving  of  verses  on  trees: 

"Ja  la  chaleur  se  passe,  et  le  Soleil  s'abaissa, 

Les  vents  sont  abaissez,  las  bois  dormant  sans  bruit; 
Mais  la  flame  d'amour  qui  jamais  ne  me  laisse. 

Plus  s’allume  an  mon  coeur,  plus  s'approche  la  nuict... 

Desur  deux  chesneteaux  hier  k toute  force 
Avanson  je  gravay  avecques  un  poinpon: 

Les  deux  ohesnas  croistront,  et  la  nouvelle  escorce 
Portera  jusqu'au  Cial  le  nom  d' Avanson. "39 

As  in  the  third  Eclogue  the  contest  closes  with  two  riddles  and  a 

statement  by  the  judge  that  he  cannot  reach  a decision.^ 

The  fifth  eclogue  of  Ronsard  is  another  song  contest  where 
both  the  contestants  are 

"Bden  appris  a chanter,  bien  appris  a respondre . "41 
As  in  the  third  Virgilian  Eclogue,  Carlin  suggests  a goat  as  a 
stake,  but  Xandrin  wishes  to  change  to  a cup  which  he  considers  of 
far  greater  value  and  which  has  never  been  touched  by  his  lips."^^ 

A judge  is  chosen  who,  like  Palaemon,  speaks  of  the  beauty  of  na- 
ture before  asking  the  shepherds  to  sing  in  alternate  verses. 43 

'^®Lau.,  111,434-436;  Ec.  ,III,  100-101 ; 1 ,14-15;  111,103,94-96;!,  76. 
3»Lau.,  Ill,  436;  , II,  67-68;  X,  53-54. 

40Lau.,  Ill,  437;  Ec.,  Ill,  104-109. 

4lLau.,  Ill,  438;  Eq, , VII,  5. 

42Lau.,  Ill,  439-440;  , III,  39,31,  35-36,  43. 

43Lau.,  Ill,  443;  Ec. , III,  55-59. 


90. 


Carlin  begins  with  verses  for  Jupiter,  and  Xandrin  for  Pan  who  pre- 
sides over  the  shepherds. Then  they  sing  of  Earth's  sorrow  at 
Pan's  death  and  of  her  producing  only  weeds  and  thistles,  of  the 
Golden  Age  when  earth  bears  without  tillage  and  honey  runs  from 
oaks,  of  the  brightening  of  the  meadows  at  Galatee's  or  Pasith^e's 
coming  and  of  the  corresponding  bleakness  at  their  departure.^5 
The  poem  ends  like  the  fifth  Eclognie: 

"Cfest  plaisir  que 

d'ouyr  I'onde  qui  glisse 

A val  d'un  haut  rocher,  d'ouyr  oontre  les  bords 

Les  flots  de  la  grand  mer  quand  les  vents  ne  sent  forts: 

Mais  e'est  plus  grand  plaisir  d'entendre  vos  Musettes,... 

Que  I'un  donne  eon  gage  b,  1 'autre  de  bon  coeur. 

Car  I'un  n'a  point  est^  dessus  1 'autre  veinqueur . "46 

Neither  the  Chant  pastoral  nor  the  Cvclope  Amour eux  borrow 
directly  from  Virgil,  but  as  the  latter  poem,  like  Virgil's  second 
Eclogue . is  imitated  from  Theocritus,  there  are  a number  of  inci- 
dents to  be  found  in  both  the  Latin  and  French  poems.  The  shepherd 
in  both  poems  try  to  influence  their  loves  by  singing  of  their 
wealth  and  by  denying  their  homeliness: 

"Certes  je  me  cognois,  je  ne  suis  si  difforme 
Que  plaisir  je  ne  prenne  a contempler  ma  forme: 

Ma  face  1 'autre  jour  sur  I'onde  j'esprouvay 

Quand  la  mer  estoit  oalme,  et  beau  je  me  trouvay."47 

At  the  close  of  their  songs  both  rebuke  themselves  for  their  love 

of  girls  who  do  not  care  for  them  and  declare  they  would  do  well  to 

tend  their  sheep  more  faithfully  or  at  least  to  weave  baskets. 48 


44Lau . , 
45Lau. , 
46Lau . , 
4?Lau. , 
48Lau. , 


III,  442-443;  ^. , III,  60;  II,  33. 

Ill,  443,444,446,447;  Ec. , V,  34-39; IV, 18-19, 30; VII ,59,53-5'  . 
Ill,  449;  ^. , V,  81,  83-85,  88. 

Ill,  455,  451,  456;  Ec ., II ,19-22 , 25-27. 

Ill,  456-457;  , II,  56-58,  71-72. 


91. 


Other  ideas  which  are  found  both  in  the  above  pastoral 
poems  of  Ronsard  and  in  Virgil,  but  which  have  not  as  yet  been 
pointed  out  in  Ronsard  are  as  follows:  The  mercenary  shepherd 

(Lau.,  Ill,  357;  , III,  5);  a goat  hanging  to  a rod:  (Lau. , III 

357;  Ec.. , I,  76);  the  Golden  Age  brought  back  by  some  character 

the 

(Lau.,  Ill,  357,  359;  ^. , IV,  6 ff.);  Saturn's  reign  used  in^sense 
of  Golden  Age  (Lau.,  Ill,  359,  406;  Ec. , IV,  6);  washing  the  flock 
(Lau.,  Ill,  358,  444;  E£. , III,  97);  trees  towering  above  the  rest 
of  a grove  (Lau.,  Ill,  359,  400,  413;  Ec. , I,  <55);  a vine  clinging 
to  an  elm  (Lau.,  Ill,  359,  384,  398,  414;  Ec. , II,  70;  V,  32); 
stakes  for  a song  contest  (Lau.,  Ill,  360  , 361,  365  , 409;  , HI, 

29-32,  etc.,);  a stake  of  a cup  which  is  described  (Lau.,  Ill,  362r; 
Ec ♦ , ni  3C-43) ; one  stake  declared  to  be  better  than  another  (Lau. , 
III,  362;  ^. , III,  35);  the  weaving  of  reeds  (Lau.,  Ill,  365,  398; 
Ec. . II,  72);  the  catching  of  birds  with  bird-lime  (Lau.,  HI,  365, 
447;  Geor.  . I,  139);  the  flock  led  into  the  shade  during  the  heat 
of  noon  (Lau.,  HI,  366;  Geor.  . HI,  331);  the  shepherds'  annual 
sacrifices  (Lau.,  Ill,  369  , 406  , 425;  Ec . , V,  67,  79;  VII,  33); 
verses  carved  on  the  barks  of  trees  (Lau.,  HI,  369,  398,400,  423, 
425;  ^. , V,  13;  X,  53);  bees  feeding  on  thyme  (Lau.,  HI,  370, 

438;  ^. , V,  77);  the  brightening  of  the  woodland  at  the  coming  of 
a sweetheart  (Lau.,  HI,  376,  425,  449;  Ec . , VII,  57-60);  the 
laurels  of  the  Eurotas  (Lau.,  Ill,  380;  E^. , VI,  83);  the  boast  of 
being  first  to  sing  certain  kinds  of  verse  (Lau.,  Ill,  380;  E52.,Vi, 
Ij  C?eor.  . Ill,  10-11);  the  use  of  "realms  of  Saturn"  as  synonymous 
with  Italy  (Lau.,  HI,  384;  Geor.  . II,  173);  the  failure  to  reach 
a decision  in  a song  contest  (Lau.,  HI,  386;  ^. , HI,  108);  the 


92. 


spring  coming  twice  a year  (Lau.,  Ill,  387;  Geor. . II,  149-150); 
songs  of  alternate  verses  (Lau.,  HI,  389,  394;  ^. , HI,  58-59); 
a cave  setting  (Lau.,  HI,  394,  395;  , I,  75;  V,  19);  animals 

fighting  for  love  (Lau.,  HI,  396;  Geor. . Ill,  220);  a shepherd’s 
statement  of  his  wealth  (Lau.,  HI,  396,  413;  ^. , H,  20-22);  a 
shepherd’s  selling  his  products  in  tov/n  (Lau.,  HI,  397 J , I, 
34-35);  two  lovers  lying  under  the  shade  together  (Lau.,  Ill,  397; 

Ec . . X,  40);  storms  baneful  to  the  crops  (Lau.,  HI,  397;  , HI, 

80);  honey  r\mning  from  trees  (Lau.,  HI,  400;  VII,  392;  , IV, 

30);  the  comparison:  sweet  like  sleep  on  the  grass  or  the  murmur 
of  a stream  (Lau.,  HI,  402  , 418  , 455;  j^. , V,  46-47);  a song,  the 
only  comfort  of  a lover  (Lau.,  HI,  402;  ^. , II,  3-5);  the  des- 
cription of  a tame  deer  (Lau.,  HI,  360;  Aen . . VII,  483-492);  the 
comparison:  like  a rainbow  of  many  colors  (Lau.,  HI,  405;  Aen., 

V,  88-89);  Tityrus  named  as  the  guardian  of  the  flock  (Lau.,  HI, 
406;  Ec . , V,  12);  the  setting  up  of  altars  to  a shepherd  as  to  a 
gcd  (Lau.,  Ill,  406;  E^. , V,  79);  the  cornpa  rison:  as  a bull  is 
superior  to  the  rest  of  a herd  (Lau.,  Ill,  413;  VII,  391;  ^. , V, 
33);  the  figure  of  the  lion  following  the  wolf,  the  wolf  the  goat, 
and  the  goat  the  clover  (Lau.,  VII,  391;  Ec.. , II,  63-64);  an  address 
to  Lucina  (Lau.,  HI,  414;  ^. , IV,  10 );  a fire  starting  from  a 
small  spark  which  sets  fire  to  a whole  forest  (Lau., HI,  422;  Geor. 
II,  303-311);  the  death  of  a shepherd  causing  the  earth  to  produce 
nothing  but  tares  (Lau.,  HI,  423-424;  ^. , V,  36-37);  love  conquer- 
ing all  (Lau.,  HI,  450;  , X,  69).'^^ 

49ih  is  paragraph  contains  the  Virgilian  citations  which  in  the  con- I 
elusion  are  referred  to  this  note. 


93. 


THE  FRANCIADE 


The  influence  of  Virgil  on  Ronsard's  long  anticipated 
epic.  La  R:an3 lade .has  been  so  carefully  considered  by  Paul  Lange^ 
that  it  is  not  necessary  to  give  here  more  than  a summary  of  the 
Virgilian  elements.  The  conception  has  already  been  shown  to  be 
Virgilian.2  As  for  the  plot,  it  has  been  said  that  one  of  the 
reasons  why  it  was  not  completed  was  the  fact  that  Ronsard  had  al- 
ready used  so  much  of  the  Aeneld  in  the  first  four  books  that  he 
had  no  material  for  the  rest  of  his  poem.  A sketch  of  the  four 
books  with  sublineation  of  incidents  imitated  from  the  Aeneid  fol- 
lows: 


Book  I.  After  the  invocation  (Aen. . I,  8-11)  a council  of 
the  gods  (Aen. . X,  1-95)  is  introduced  at  which  Jupiter  describes 
the  fall  of  Troy  (Aen. . II)  and  explains  how  he  had  saved  Francus 
from  the  flames.  He  tells  Juno  that  Francus  will  attain  his  goal 
in  spite  of  her  hostility  (Aen. , I,  257-296) . At  his  command  Mer- 
cury is  sent  (Aen.  . IV,  223-255)  to  Bu  thro  turn  (Aen. . HI,  293)  to 
arouse  Francus  who  is  living  there  with  Andromache  and  Helenus 
(Aen. . Ill,  294-297).  The  messenger  arrives  at  a time  when  a 
sacrifice  is  being  performed  (Aen. , III,  300-305).  Rumor  spreads 


1^.  cit . . Part  I,  note  3. 

^See  the  text  to  notes  39-42  of  Part  I.  That  discussion  is  inde- 
pendent of  Lange's  work, which  is  concerned  primarily  with  the 
actual  poem.  Lange  is  not  very  certain  about  the  origin  of  the 
poem,  although  he  mentions  two  of  the  early  odes  which  give  plans 
for  it.  In  his  synopsis  of  the  Franc iada . he  might  have  mentioned 
more  incidents  taken  from  the  Aeneid. 


94. 


the  news  of  his  visit  and  stirs  up  the  people  (Aen. . IV,  173-188.) 
Helenus  at  night  (Aen. . IV,  532-528)  planning  his  step-son's  voyage 
cannot  sleep  (Aen. , IV,  529-532) . Mars  in  the  gruise  of  an  old  ser- 
vant appears  (Aen. . IX,  646-663)  to  Francus  and  rebukes  him  for  his 
delay  (Aen. , IV,  365-276) . Francus  chooses  the  young:er  men  to 
take  with  him  (Aen. . V,  715-718,  729-730).  Andromache  bids  him 
farewell  giving  him  gifts  for  remembrance  sake  (Aen. . Ill,  482-491; 
V,  250-257).  Helenus  offers  sacrifices  to  Neptune  making  requests 
which  Neptune  grants  in  part  (Aen. . XI,  794-795).  Helenus  prophesle 


explaining  Francus*  voyage  (Aen. . Ill,  369-462),  in  the  course  of 
which  the  god  of  the  Danube  will  arise  to  address  the  traveler 
(Aen. . VIII,  31-35).  The  fleet  sets  sail  (Aen. . V,  8-9) as  Francus 
invokes  the  gods  and  the  winds.  A sign  from  heaven . - a clap  of 
thunder  (Aen. . VII,  141), is  given. 

Book  II.  Neptune  still  angry  at  an  old  offense  of  the 
Trojans  sees  the  fleet  on  the  open  sea  (Aen. . I,  25-28,  34-36). 

He  rages  to  himself  (Aen. , I , 37-50)  and  finally  addresses  the  wihd 
(Aen. . I,  64-75)  to  persuade  them  to  bring  grief  to  the  Trojans. 

He  seeks  the  superfluous  aid  of  Iris  whom  he  urges  to  incite  Juno 
to  cause  a rainstorm.  The  storm  breaks  out^  (Aen.  . I,  81-93).  Fran- 
cus in  despair  appeals  to  the  gods  (Aen . , V,  687-692;  I,  93-101)^ 
but  his  ships  are  scattered  and  two  are  sunk  (Aen. , I,  102-123) . 

The  pilot  is  blown  overboard  and  carries  the  helm  along  with  him 
(Aen. , V,  857-860).  Francus  and  a few  others  manage  to  gain  the 
shores  of  Crete.  After  the  gods,  Cybele  ajid  Sleep,  have  intervened 
to  prepare  a friendly  welcome  (Aen. . I,  297-304) for  Francus,  the 
Cretan  king,  Dic4e  on  a hunt  meets  him.  Francus  describee  his  trial 


f 


-.5. 


^ A 


». ," 


■i: 


■ ^ .5’J  • *•■ 

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p ' ^ V , ' 

.V  V r^-^i  :U.'a:i 

. . _ '■  ^.^9  rw;J“-  .'  V^.;^  

. ■ ♦ 

1.  V '-‘‘ll'U-'-ui.  ■ ' ■_*..»-•:  L:JLL 

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jlv>  r:*i.- 
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•r^irr?!^ 


V 


95. 


( Aen . , I,  522-557)  and  Dicee  welcome 8 him  to  his  country  (Aen. . I, 
562-578)  stating  that  one  of  his  ambassadors  had  been  entertained 
by  Hector  (Aen. . VIII,  157-159).  The  king  orders  food  to  be  sent 
to  the  shipwrecked  Tro.ians  (Aen. . I,  633-636).  The  spirits  of  some 
of  the  drowned  sailors  appear  to  Francue  and  appeal  for  tombs 
(Aen. . VI,  365-366).  Francus  performs  rites  for  them  (Aen. , III, 
62-68)  and  prays  to  Venus.  Venus  sends  Love  to  Crete  to  inflame 
both  Clymene  and  Hyante,  the  daughters  of  the  king.  (Aen. . I, 
657-660) . Francus  and  some  of  his  friends  approach  the  city  of 
Dicee  ^ g,  cloud  (Aen. . I,  411-444).  A great  feast  and  dance  are 
prepared  for  them  in  the  castle  (Aen . . I,  697-708),  at  which  Ter- 
pin  sings  to  the  Ivre  (Aen . . I,  740-746).  The  king  is  sad,  however 
for  his  son,  captive  of  the  giant  Phovere,  is  to  be  killed  the 
next  day  unless  saae  one  kills  the  giant .Francus  volunteers  to  act 
as  chaiaqpion  and  on  the  following  day  meets  and  conquers  the  giant 


^In  ^ite  of  the  mediaeval  atmosphere  there  are  many  similarities 
between  this  duel  and  several  duels  of  the  Aeneid:  The  outcome 

is  decreed  by  the  gods  (Aen. . XII,  725-727);  Phovere  speaks  dis- 
paragingly of  FrFinous  because  of  the  importance  of  the  battle 
(Aen.,  XII,  764-765),  but  assures  him  he  will  be  honored  by  fallini 
at  the  hands  of  so  great  a man  (Aen. . X,  829-830).  During  the 
course  of  the  fight  the  bodies  resound  with  blows  (Aen. , V,  435-436 
and  after  a temporary  lull  both  fight  with  renewed  wrath  and  vigor 
(Aen. . V,  453-455).  The  one  trusts  to  his  speed  and  skill,  the 
other  to  his  strength  and  power,  (Aen. . V.  430-431).  They  are 
compared  to  two  bulls  (Aen. . XII,  715-722;  and  Phovere 's  fall  is 
like  that  of  a pine  (Aen. . V,  447-449). 


96. 


Book  III.  The  sisters  are  unable  to  sleep  on  account  of 
their  love  (Aen. . IV,  80-83) . Hyante  speaks  to  her  sister  of  her 
love  (Aen. , IV,  10-13) . In  the  morning  both  consult  oracles 
(Aen. . IV,  56-65).  Meantime  Francue  lamenting  his  sad  fate  (Aen . 

I,  93-101)  is  urged  by  the  sea-gods  to  court  Hyante  in  order  to 
persuade  her  to  reveal  his  future  to  him.  He  must,  however,  bury 
a dead  companion  first  (Aen. . VI,  149-155).  Dices  comes  to  offer 
his  daughter's  hand  to  Francus,  but  he  replies  that  he  is  compelled 
by  fate  to  refuse.  The  liberated  son  places  trophies  of  the  giant 
on  a tree  (Aen. . XI,  5-11)  and  Terpin  leads  forth  a dance  from  the 
city  to  celebrate  the  victory.  Venus  disguised  as  the  priestess  of 
Hecate  incites  Hyante  (Aen. . VII,  341-355).  Francus  prepares  the 
rites  of  his  dead  comrade  (Aen.,  VI,  162-183).  Clymene,  who  had 
been  concealing  her  love  for  Francus,  decides  to  take  poison,  but 
her  nurse  interferes  and  urges  her  to  write  of  her  love  to  Francus. 
Cybele,  after  appearing  to  Francus  and  berating  him  (Aen. . IV,  265- 
276)  for  failure  to  have  Hyante  prophesy  his  future,  arouses 
Jalousie  to  attack  Clymene  (Aen . . VII,  341-355).  The  nurse  bears 
Clymene 's  letter  to  Francus  who  rejects  it.  Clymene  denounces 
him  (Aen. . IV,  305-330)  and  joining  a Bacchic  revelry  (Aen. . VII, 
385-405)  dashes  headlong  into  the  sea. 

Book  IV.  While  Dices  hesitates  to  turn  against  his 
guest  (Aen. . VII,  586-600),  Francus  courts  Hyante.  He  has  a rendez- 
vous with  her  near  Hecate's  temple,  where  he  promises  to  marry  her 
if  she  will  reveal  his  future  to  him.  She  agrees  and  gives  ^im 
instructions  for  the  sacrifice  (Aen. . VI,  133-148).  N&ar  a fright- 


.,1. 


97. 


ful  cave  (Aen. . VI,  S37-ii43)  she  works  herself  into  a divine  frenzy 
(Aen. . VI,  46-51,  77-80,257-26.3)  and  begins  the  prophecy  of  Francus' 
deeds.  She  describes  the  process  of  metempsychosis  (Aen,,  VI,  724- 
751)  which  takes  place  in  the  lower  world  and  to  the  frightened 
Francus  names  his  descendants  (Aen. . VI,  756-886)  as  they  appear  in 
the  sulphur  and  flame  at  the  mouth  of  the  cava. 

It  will  be  noted  from  the  summary  that  the  role  of  the  gods 
is  practically  the  same  as  in  the  Aeneid.  - with  the  exception  of 
Neptune  the  same  deities  are  friendly  and  the  same  hostile.  They 
asaime  hiiman  forms,  appear  in  dreams,  or  send  messengers  to  the  human 
beings  in  whom  they  are  interested.  The  heroes  of  both  epics  act  in 
accordance  with  fate  and  not  with  their  own  volition.  But  the  sum- 
mary affords  no  idea  of  the  stylistic  similarities.  There  is  an 
almost  countless  number  of  epithets,  similes,  paraphrases,  metaphors, 
examples  of  metonymy,  synecdoche,  hyperboles,  and  alliteration  like 
those  in  Virgil.^  It  is  these  figures  together  with  the  argument 
which  make  it  possible  to  state  that  the  Franc iade  owes  more  to  Vir- 
gil than  to  any  other  poet. 

REMINISCENCES 

There  are  numerous  passages  in  Ronsard  parallels  for  which 
may  be  found  in  Virgil,  but  which  may  not  always  with  certainty  be 
ascribed  to  borrowing  from  Virgil.  However,  when  one  considers  Ron- 
sard' s thorough  and  intimate  knowledge  of  Virgil  and  his  very  great 
4 

These  figures  are  discussed  in  detail  by  Lange. 

I 

1 


98, 


admiration  for  him  and  at  the  same  time  remembers  that  the 
phraseology  is  often  very  similar  in  both  poets,  the  passages  will 
be  seen  to  deserve  mention  and  at  times  quotation  in  this  article. 
They  assuredly  are  reminiscences  of  Virgil  and  whether  they  repre- 
sent direct  imitation  on  the  part  of  Ronsard  or  not,  they  are 
identical  ideas  and  subject  matter  employed  by  both  poets. 


CLASSICAL  ALLUSIONS 


Of  the  almost  unlimited  number  of  classical  allusions  in 
Ronsard,  only  those  are  mentioned  here  which  are  combined  with 
similar  descriptive  clauses  or  phrases  in  Virgil: 

Mad  Coroebus,  La^.,  I,  5;  Aen. . II,  341,386,  407. 

Amphrysus  river,  Lau.,  VI,  124;  Oeor . . Ill,  2. 

The  punishment  of  the  Locrois  (=A jax) , Lau.,  I,  49; 

Aen. , I , 41 , 

Andromache  at  Buthrotum,  Lau.,  II,  83;  Aen. . Ill,  293  ff. 
Pentheus' seeing  two  suns,  Lau.,  VI,  123;  Aen., IV,  469-473. 
Hippolitus'  return  to  the  upper  world,  Lau,,  II,  175; 


Aen. . VII,  764-773. 


Tritonia  - Pallas,  Lau.,  II,  262;  Aen.,  II,  171  and  226. 
Sailors  make  vows  to  Glaucus  and  Melicerta,  Lau.,  II, 

218;  Geor. , I,  436-437. 

Orpheus  and  E^rydice  and  the  latter's  death  caused  by  a 
snake,  Lau.,  I,  37;  Geor . . IV,  457-459. 

Orpheus'  grief,  Lau.,  I,  361-362;  Geor.,  IV,  507-510,522. 


ll 


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99. 

Like  Orpheus  in  a long  white  robe,  Lau. , V,  261;  Aen. 

VI,  645, 

Discord  and  Bellona  on  the  battlefield  stirring  up  strife 

Lau.,  VII,  468;  V,  302;  , VIII,  700-703; 

”Au  milieu  des  soldats  la  sanglante  Bellonne 
D’un  fer  rouill6  portraits  horriblement  felonne 
Erroit  avec  Discorde,  et  d'un  fouet  sonnant 
Alloit  de  see  guerriers  les  coeurs  ^poingonnant . " 

" saevit  medio  in  certamine  Mavors 

caelatus  ferro,  tristesque  ex  aethere  Dirae, 
et  sciesa  gaudens  vadit  Discordia  palla, 
quam  cum  sanguine©  sequitur  Bellona  flagello.”^ 

Taygetian  hounds  on  Maenalus,  Lau.,  V,  38;  Peer. . Ill, 

42-45. 

Like  Orestes  driven  by  the  Furies,  Lau,,  V',  344;  Aen. . 

Ill,  331. 

The  Sibyl's  words  on  leaves,  Lau.,  VI,  254;  Aen. . Ill, 

444-446. 

The  cruelty  of  the  Myrmidons  and  the  Dolopians,  Lau,,  I, 

4.  ; Aen. , II,  7 . 

Phoebus  wishes  the  name  of  the  author  on  the  page,  Lau., 
II,  158;  VI,  96;  ^. , VI,  11-12. 

Phoebus'  laurel  which  retains  a song  by  heart,  Lau.,  VI, 
98;  Ec.,  VI,  82-83. 

Renomm6e,  or  Fame,  the  messenger  of  the  false  and  the 
true,  Lau.,  I,  9j  IV,  199;  VI,  415;  Aen. . IV,  188. 

Various  descriptions  of  Fame,  Ronommee,  or  Opinion,  Lau., 
II,  248;  III,  188,  217,  255-256,  509;  IV,  218;  V,  97,  260,  419,393, 
Aen. . IV,  173-190,  666;  VII,  512-514,  519-521; 

^Lau.,  VII,  468;  A^. , VIII,  700-703. 


100. 


”Sur  le  haut  des  oitez  une  femme  debout^ 

Qui  VO it  tout  qui  oyt  tout  et  qui  declare  tout, 

Elle  a cent  yeux  au  front  cent  oreilles  en  teate: 

Dans  les  voutes  du  Ciel  son  visage  elle  arreste, 

Et  de  ses  pieds  en  terre  elle  presse  les  monte, 

Une  trompette  enflant  de  ses  larges  poumons. 

Je  voy  le  peuple  k foulle  < acourir  aupres  d'elle." 

" . . . . sedet  custos  aut  summi  culmine  tecti,... 
monstrum  horrendum,  ingens,  cui,  quot  sunt  corpore  plumae 
tot  vigiles  oculi  subter.... 

tot  linguae,  totidem  ora  sonant,  tot  subrigit  auris.... 
ingreditur..8olo  et  caput  inter  nubila  condit." 

"can it  signum  comuque  recurvo 

concurrvint  undique 

indomiti  agricolae."  2 

Cybele  or  the  Berecynthian  mother  in  her  chariot  pulled 
by  lions,  Lau.,  V,  105,  II,  236;  Aen. . Ill,  111-113;  VI,  784-787. 

"Mere  des  Dieux  ancienne 
Berecynthe  Phrygienne, 

A qui  cent  Prestres  ridez 
Font  avecques  cent  Menades 
Au  son  du  buis,  des  gambades 
Au  haut  des  sommets  Idezt 
Laisse  laisse  ta  oouronne, 

Que  raainte  tour  envlronne, 

Et  ton  mystere  Orgien, 

Et  plus  k ton  char  n* attache 
Tas  grands  lions,  et  te  cache 
Dans  ton  antre  Phrygian. " ^ 

A crop  of  soldiers  and  lances  springs  up,  Lau.,  I,  29; III, 
252;  V,  432;  Gepr . , II,  142. 

Deucalion’s  tossing  of  the  stones  to  start  the  human  race 
and  Nature's  laws  decreed  at  that  time,  Lau.,  I,  137;  II,  289,  413; 
III,  344;  VI,  133;  Geor. . I,  60-63;  Ec.,  VI,  41. 

"Telles  loix  fit  Dame  Nature  guide. 

Lore  que  par-sur  le  dos 
Pyrrhe  seraa  dedans  le  monde  vuide 
De  sa  mere  les  os." 

^Lau.,  Ill,  188;  Aen.,  IV,  186,  181-183,  177;  VII,  513,  520-531. 
^Lau.,  II,  236-237, 


VI,  278. 


854-856. 


101. 


"....has  leges  aetemaque  foedera  cartis 
imposuit  natura  locis,  quo  tempore  primum 
Deucalion  vacuiim  lap  ides  iactavit  in  orbem."^ 

Sleep,  the  brother  of  Death.,  Lau.,  II,  324;  III,  335;  Aen. 


Sleep  and  its  manner  of  working,  Lau.,  II,  324;  Aen. . V, 


"Somme^le  repos  du  monde. 

Si  d’un  pavot  plein  de  1‘onde 
Du  grand  fleuve  oblivieux 
Tu  veux  arrouser  mes  yeux, ..." 

" deus  ramum  Lethaeo  rore  madentem 

vique  soporatum  Stygia  super  utraque  quassat 
tempora, "5 

The  Cretan  di ctamnus  as  the  panacea,  Lau.,  II,  408;  Aen. . 

XII,  412. 

The  Chalcideans  who  founded  a colony  at  Cumae,  the  home  of 
the  Siren,  Lau.,  IV,  236;  Aen. . VI,  2 and  17. 

Salmoneus  who  tried  to  imitate  Jupiter's  lightning,  Lau., 

IV,  196;  V,  31,  VII,  431;  Aen. . VI,  585-586. 

Mercury's  wand  which  awakes  and  puts  to  sleep,  Lau.,  VI, 

120;  Aon.,  IV,  242-244. 

Mercury,  the  messenger  from  Jupiter  to  the  people  on  earth, 
Lau.,  VI,  121;  Aen. . I,  297;  IV,  238. 

Mercury  on  wings  flies  to  earth  like  a bird,  Lau.,  Ill,  495; 
IV,  239;  Aen. . IV,  253-255. 

Trees  favored  by  various  gods,  Lau*,  I,  35,  154,  299;  II, 
339;  Ec. , VII,  61-64;  Geor. . I,  18;  Aen.,  V,  72. 

^Lau. , II,  289;  Cceor.,  (oO-(qZj. 

^Lau.,  II,  324;  Aen.,  V,  854-856.  Cf.  also  IX,  436. 


102. 


Snakes  for  hair,  Lau.,  I,  76;  Aen. . VII,  329. 

Aeolus,  the  king  of  the  winds,  Lau.,  I,  102,109;- Aen. , I, 

65-66. 

The  home  of  the  winds,  Lau.,  IV,  219;  V,  419;  Aen. . I,  52-54, 

Proteus  changing  form  and  sleeping  on  the  sands,  Lau.,  I, 
131-132;  III,  253;  IV,  92,  141;  Geor. . IV,  429-430;  437-442. 

Caeneus,  who  changed  from  boy  to  girl,  Lau.,  I,  236;  Aen. . 
VI,  448-449. 

The  flight  of  Icarus  and  Daedalus,  Lau.,  I,  245;  II,  321; 
Aen. . VI,  14-17,  30-31. 

Dryads  dancing  with  Pan,  Lau.,  II,  38,  VI,  181;  Ec. , V, 

58,  59. 

List  of  Hercules'  deeds,  Lau.,  II,  24;  Aen. . VIII,  288-300. 

Hercules'  visit  to  Evander's  realms,  Lau.,  II,  32;  Aen. . 
VIII,  201-203. 

The  cutting  off  of  her  father's  lock  by  Scylla  who  was 
changed  into  a bird,  Lau.,  II,  43;  Ciris.  entire  poem,  especially 

II.  120-125  and  387-388. 

"A  tort  les  mensongers  Poetes 
Vous  accusent  vcus  alouettes 
D' avoir  vostre  pere  hai 
Jadis  jusqu'a  1 'avoir  trahi, 

Ooupant  de  sa  teste  Royale 
La  blonde  perruque  fatale, 

Dans  laquelle  un  crin  d'or  portoit 
En  qui  tout  sa  force  estoit." 

The  hanging  up  of  trophies,  especially  on  a tree,  as  an 
offering  to  the  gods,  Lau.,  II,  59;  III,  218;  V,  220;  VI,  208;  Aen. . 

III,  286-287;  XI,  5-7. 

Juno's  desire  to  prevent  the  refounding  of  Troy,  Lau.,  II, 
83;  Aen. . I,  23-24,  29-31. 


103. 


Neptune  rises  from  the  water's  depths,  Lau.,  Ill,  245; 

Aen . , I,  126-127. 

The  Tritons  rise  to  chase  the  waves,  Lau.,  II,  124,  444; 
Aen. . I,  144;  V,  824. 

Tethys'  waves,  Lau.,  II,  188;  Oeor . . I,  31. 

River  gods  which  arise  to  prophesy,  Lau.,  II,  194;  III, 
290;  VI,  239;  Aen.,  VIII,  31-35. 

Lucina  present  at  the  birth  of  a child  Lau.,  II,  238;  Ec. . 

IV,  8-10. 

The  realms  of  Venus,  - Cyprus,  Paphos,  Cythera,  Lau.,  II, 
344;  , I,  415  , 622  , 680. 

The  Xanthus  filled  with  blood  and  dead  bodies,  Lau.,  II, 
352;  III,  278;  Aen. . V,  807-808. 

Harpies  snatching  away  food  from  mortals,  Lau.,  IV,  169, 
173;  Aen.,  Ill,  225-228. 

The  goose  which  warned  Rome  of  the  approach  of  the  Gauls, 
Lau. . V,  61;  Aen. . VIII,  655-656. 

Arethusa  and  Alpheus,  Lau.,  V,  292;  Aen. . Ill,  694-696. 

A shade  prophesying,  Lau.,  VII,  224-225;  Aen.,  II,  270  ff; 

775  ff. 

Casting  a snake  in  one's  bosom,  Lau.  ,7^375;  Aen.  . VII, 

346-351: 

"Ainsi  disoit  ce  monstre^  et  arrachant  soudain 
Un  serpent  de  son  doz,  le  jetta  dans  le  sein 
De  Luther  estonn4:  le  serpent  se  desrobe^ 

Qui  glissant  lentement  par  les  plis  de  sa  robe 
Entre  sous  la  chemise,  et  coulant  sans  toucher 
De  ce  moyne  abuse  ny  la  peau  ny  la  chair, 

Luy  soufle  vivement  une  ame  serpentine^ 

Et  son  venin  mortel  vomist  en  sa  poi trine 
L ' enracinant  au  coeur ; ..." 


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104. 


"huic  daa  oaeruleis  unum  de  orinibus  anguera 
oonioit,  inque  sinur/i  praeoordia  ad  intima  eubdit, 
quo  furibunii  domura  monstro  permisoeat  omnem. 
ille  inter  vestis  et  levia  pectora  lapsus 
volvitur  attactu  nullo  fallitque  furentem, 
viperaam  inspirans  animeun;" 

Figures  embroidered  in  clothes,  Lau.,  II,  258;  Aen . , I, 

648;  V,  250  ff. 

The  painting  of  deeds  on  the  walls  of  a temple,  Lau.,  VI, 
260;  ^.,  I,  455  ff;  VI,  20  ff. 

Catching  the  last  breath  from  the  lips  of  a dying  person, 
Lau.,  V,  276;  , IV,  684-685. 

The  warrior  maiden  Camille,  Lau.,  VI,  324;  Aen. . VII,  803; 
XI , 432,  etc. 

A description  of  arms,  Lau.,  V,  22-23;  Aen. . VIII,  626  ff. 

Cassandra  whose  prophecies  were  not  believed,  Lau.,  I,  116; 
Aen. . II,  246-247. 

A great  many  references  to  Hades  as  found  described  in  the 

booK 

sixth^of  the  Aeneid: 


The  monsters  and  sights,  Lau.,  IV,  264-265;  V,  317,  324; 

Aen. . VI,  268  ff: 

”Puis  tout  ainsi  ^ue  s'elle  avoit  les  ailes 
Du  fils  de  Maia  a I'entour  des  aisselles. 

Vole  aux  Enfers,  et  recognoist  la  bas 
Ce  qui  est  vray^et  ce  qui  ne  I'est  pas: 

Elle  oognoist  AEaque  et  Rhadamanthe, 

Le  Sort,  la  Cruche,  et  leur  loy  violante: 

Elle  cognoist  la  Roue  et  les  Vautours, 

Et  du  Rocher  les  tours  at  les  retours:,... 

Elle  oognoist  Cocyte  et  Phlegethon, 

Styx  et  Charon,  et  des  ames  pris^es 
Les  beaux  sejours  aux  pleines  Elys^es, 

Et  les  plaisirs,  et  les  toormens  souffers 
Que  gravement  les  Juges  des  Enfers 
Dedans  leur  chaire  ordonnent  sans  envie 
A ceux  qui  J|dis  furent  bons  de  vie, 

Ou  entaohez^e  vicisux  defaut."S 

®Lau . , 


IV,  264.-265, 


105. 


The  myrtle  groves  or  fields  for  lovers,  Lau.,  I,  33,  263, 
316,  , 346,  364;  IV,  20,  23,  72,  137;  V,  166,  277,  307,  324;  VI, 

28,  101,  203;  VII  , 409;  , VI,  440  ff. 

Drinking  the  water  of  Lethe,  the  stream  of  forgetfulness, 
Lau.,  II,  203;  VI,  119;  AejQ.. , VI,  703  ff. 

Stook  punishments  of  the  underworld,  Lau.,  I,  22,  IV,  85, 
92,  370,  etc.;  Aen. , VI,  571  ff. 

Rhadamanthus  the  judge,  Lau.,  II,  192:  Aen. . VI,  566. 
Sacrifice  to  the  gods  of  the  underworld  -■  black  animals, 
Lau.,  II,  216;  ken,,  VI,  243  ff. 

The  disfiguration  of  the  shades  of  the  underworld,  Lau.,  V, 
84;  Aen.  . VI,  494-497. 

The  nine  folds  of  the  Styx,  Lau.,  II,  328;  VI,  203;  Aen. . 

VI,  439. 

The  heroes  exercising,  Lau.,  V,  268;  Aen. . VI,  642  ff. 

The  body  of  a giant  stretched  over  acres  of  land,  Lau.,  V, 
437;  Mr,,  VI,  596-597. 

The  throng  standing  on  the  banks  of  the  underworld  river 
stretches  out  its  arms  for  the  other  shore,  Lau.,  I,  173;  II,  436; 
VI,  155;  Aen.,  VI,  313-314,  305. 

PHASES  OF  LOVE 

Love,  the  unjust  tyrant,  Lau.,  I,  15;  Aen. . IV,  412. 

Love,  unmoved  by  tears,  Lau.,  I,  74,  Ec. , X,  29-30. 
Enchantments  of  love,  - wax  image  thrown  backwards  over  the 
head,  Lau.,  II,  271;  ^. , VIII,  73-75,  80,  102. 

The  fury  of  love  in  animals,  Lau.,  II,  211;  III,  266;  VII, 
474;  Qeor. . Ill,  222-223;  253-254;  269-274;  276-277: 


106. 


”Qui  9^  qui  Ik  vagabons  d'avanture 
Poussent  dehors  oeste  flame  si  dure, 

Dont  trop  d’amour  espoinjonne  leur  flanc 
Quand  le  printemps  fait  tieder  nostre  sang. 

Ny  les  torrens^ni  les  hautes  montagnes, 

Taillis  ronceuXj sablonneuses  campagnes. 

Rocs  opposez  n'empeschent  point  leurs  oours: 

"Tant  furieux  est  I'aiguillon  d 'amours I 
La  reschaipfez  de  flamme  mutuelle, 

Et  bondissans  dessus  I’herbe  nouvelle 
Sans  se  souler,  so  it  de  nuit  soit  de  ;jour 
Aiment  Venus:  les  rochers  d'alentour 
Frapez  du  cry  de  ces  boeufs  qui  mugissent, 

De  sons  aigus  au  ciel  en  retentissent 
Centre  - muglans:" 

"illas  ducit  amor  trans  Gargara  transque  sonantem 
Ascanium;  superant  mentis  et  flumina  tranant. 
continuoque  avidis  ubi  subdita  flamma  medullis 
(vere  magis,  quia  vere  calor  redit  ossibus),  illae 
ore  omnes  versae  in  Zephyrum  stant  rupibus  alt is 

exoeptantque  levis  auras, 

saxa  per  et  scopulos  et  depreesas  oonvallis 
diffugiunt " 

"non  scopuli  rupesque  cavae  atque  obiecta  retardant 
flumina  correptoaque  unda  torquentia  mentis. 

A bird  singing  its  grief,  Lau.,  I,  58,  188;  VI,  92; 

Geor. . IV,  511-515. 

Mares  pregnant  in  the  wind,  Lau.,  113,  VI,  91;  Geor. . 

Ill,  275. 

Everything  in  love,  Lau.,  I,  152,  Geor. . II,  329,  III, 

242,  244. 

The  fickleness  of  woman,  Lau.,  I,  127,  V,  82;  Aen . , IV, 

569-570 . 


83. 


The  absent  lover  present  in  fancy,  Lau.,  IV,  44;  Aen. . IV, 


The  lover  in  despair  plunges  into  the  waves,  Lau.,  IV,  34; 
Ec. , VIII,  59-60. 

7Lau. ,VII .474;Geor. . Ill .269-274.  276-277,  253-354. 


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^ 


107. 


Cursing  the  gift  of  eternal  life  which  prevents  death  to- 
gether with  a loved  one,  Lau.,  V,  293;  Aen . , XII,  879-881. 

Hardness  of  heart  especially  as  the  result  of  suckling  by 
a wild  animal,  Lau.,  I,  111,  127,  133,  146;  III,  505;  IV,  71,  130; 
V,  82;  Aen. . IV,  366-367;  Ec. , VIII,  49-50. 

A fever  burning  up  the  marrow,  Lau.,  II,  175;  Geor . , III, 

215. 

The  difficulty  of  deceiving  a lover,  Lau.,  Ill,  221;  Aen., 

IV,  296. 

Denxinciation  of  a lover  or  perjurer,  Lau.,  Ill,  216,  222- 
233;  V,  63,  66,  67,  386;  Aen*  > 3LV,  305  ff.;  365  ff;  590  ff; 

"Je  te  seray  defuncts  un  fantosme  hideux, 

Je  rompray  ton  sonmieil,  et  contre  toy  raarrie 
Je  te  suivray  tousjours  importune,  ^rie, 

Te  donnant  a manger  ton  fils  pour^°repas; 

Ainsi  doux  (me  vengeant)  me  sera  le  trespasJ" 

” sequar  atris  ignibus  absens 

et,  cuim  frigida  mors  anima  seduxerit  artus, 
omnibus  umbra  locis  adero. . . . 

non  ipsum  absumere  ferro 

Ascanium  patriisque  epulandum  ponere  mensis?"® 

.."est-oe  la  recompense 
Que  tu  me  do is  de  t' avoir  receu  nu, 

Naufrage  vif  a ce  bord  incognu?" 

” ei sc turn  litore,  egentem 

except  et  regni  demens  in  parte  locavi."^ 

"^echant  Grec,  bien  petite  est  la  gloire 
Quand  deux  trompeurs  ensemble  ont  la  victoire 
Sur  une  femme  au  coeur  simple  et  benin 

"egregiam  vero  laudem  et  spolia  ampla  refertis 
tuque  puerque  tuus;  magnum  et  memorabile  numen, 
una  dole  divura  si  femina  victa  duoriim  est.”^^ 

^Lau.,  Ill,  323;  A^. , IV,  384-386  , 601-602. 

9Lau.,  V,  63;  Aen. . IV,  373-374. 
lOLau.,  V,  66;  ^. , IV,  93-95. 


108. 


"Puis  qua  Meroura  est  descendu  pour  toy, 

Je  ne  veux  plus  te  retenir  chez  moy." 

" nunc  augur  Apollo, 

nunc  Lyciae  sortes,  nunc  at  love  missus  ab  ipso 
interpres  divum  fart  horrida  iussa  per  auras. 

"Disant  ainsi^tout  la  ooeur  luy  faillit, 

Un  tremblement  sa  poitrine  assaillit. 

La  coeur  luy  bat,  alia  se  pasma  touts," 

"his  medium  diotis  sermonem  abrumpit.... 

. . . . suscipiunt  famulae  conlapsaque  membra 
marmoreo  referunt  thalamo  stratisque  reponunt."!^ 

"Las!  si  au  moins,  homme  mechant  et  fin, 

J'avois  au  ventre  un  petit  Ulyssin, 

Qui  te  samblast,  je  serois  confort6e 
M ' esjouyssant  d'une  telle  portae.... 

Attens  au-moins  

Inexorable  impitoyable  et  rude, 

Qui  pour  le  bien  m'uses  d' ingratitude, 

Coeur  de  lion,  de  tigre  et  de  rocher." 

"saltern  si  qua  mihi  de  te  suscepta  fuisset 
ante  fugam  suboles,  si  quis  mihi  parvulus  aula 
luderet  Aeneas,  qui  te  tamen  ore  referret, 
non  equidem  omnino  capta  ac  deserta  viderer. . . . 
tempus  inane  peto, .... 

perfide,  ....  duris  genuit  te  oautibus  horrens 
Caucasus,  Hyroanaeque  admomnt  ubera  tigres."^3 


THE  MUSES  AND  THE  WRITING  OF  POETRY 
Bringing  back  the  Muses,  Lau, , II,  269;  Geor . . Ill,  10,11. 
Alone  in  the  shade,  especially  before  a cave,  singing  of 
one's  love,  Lau.,  VI,  92;  I,  7,  280,  292;  II,  199,  214,  436;  III, 
460;1V,  43;Y;88;  ^. , I,  3-5,  75;  II,  3-5. 

"I  (or  my  friend)  first  led  the  Muses  or  brought  glory  to 
my  country",  Lau.,  V,  147,  166;  VI,  125;  ^. , VI,  1;  Geor. . 111,10. 

^^Lau.,  V,  67;  Aen . , IV,  376-378. 

IjLau.,  V,  68;  Aen. . IV,  388,  391-392. 

13Lau.,  V,  69;  A^. , IV,  327-330,  433,  366-367. 


109. 


"I  shall  not  sing  of  princes  and  greedy  sailors",  Lau., 

VI,  130;  Geor. . II,  495  ff. 

"May  I sing  as  long  as  I live",  Lau.,  VI,  131;  Geor. . II, 

475-476. 

"Sing  no  more,  hoys",  Lau.,  I,  335;  , III,  111. 

"I  shall  sing  new  verses",  Lau,,  II,  278;  Geor . . Ill,  8-9, 

291-293. 

"Another  than  I will  sing  of  your  combats",  Lau.,  IV,  203; 
Ec.,  VI,  6. 

"A  day  may  come  when  I shall  sing  of  wars  and  great  deeds" 
Lau.,  VI,  268;  Ec. , IV,  53-54. 

TIME  AND  SEASONS 


The  heat  of  the  Dog  star,  Lau.,  II,  427;  VII,  504-505;  II, 
200;  IV,  91;  V,  29,  171;  VI,  207,  210;  Geor. . II,  353;  IV,  425-426. 

The  heat  of  summer  which  causes  the  shepherds'  early  de- 
parture for  the  woods,  Lau,,  VII,  507;  Geor. . Ill,  324-325. 

Melting  of  ice  in  spring,  Lau,,  II,  423,  VI,  135;  Geor. . 

I,  43-44. 

The  rainy  season  and  what  the  farmer  then  should  do,  Lau., 

II,  281;  Geor. . 1,  356-359,  259-261: 

"Puis  que  d'ordre  a son  rang  I'orage  est  revenu^ 

Si  que  le  ciel  voile  tout  triste  est  devenu 
Et  la  vefve  forest  branle  son  chef  tout  nu 
Sous  le  vent  qui  I'estonne: 

C'est  bien  pour  ce  jourd  huy  (ce^semble)  raison^ 

Qui  ne  veut  offenser  la  loy  de  la  saison^ 

Prendre  a gre  les  plaisirs  que  tous lours  la  maison 
Enltemps  pluvieux  donne." 


110. 


Ploughing  time  when  earth  feels  the  touch  of  spring,  Lau. , 


II,  356j  Geor « , I,  44—46. 

Spring,  Lau,,  IV,  66;  V,  265;  VII,  444;  Geor.,  I,  43;  II, 


323  ff. 


The  time  of  night  when  repose  is  sweetest  and  true  dreams 
occur,  Lau.,  IV,  117;  Aen . , II,  268-270. 

The  succession  of  the  seasons,  Lau.,  IV,  301-302;  VI,  91; 
Geor. . I,  311-315;  II,  319-322,  519-523, 

The  heat  of  s-ummer  which  bursts  open  the  land,  Lau.,  V, 

64;  Geor. . II,  353. 

Wintry  winds  struggling  together,  Lau.,  VI,  410;  Aen. . 

356-358. 

Spring  and  love  appear  together,  Lau.,  I,  196;  Geor . . Ill, 

S72. 

Approach  of  night  and  night  itself,  Lau,,  II,  65; 

. Aen,,  IV,  77,  80,  81;  III,  147;  IV,  522. 

Night  when  everything  reposes  or  everything  except  an 
anxious  lover,  Lau.,  Ill,  213;  IV,  30;  Aen.,  IV,  80-83;  V,  835-836, 
854-855;  VIII,  26-27; 

"II  estoit  nuict  fermee,  et  les  hommes  lassez, 

Dessus  la  plume  oisive  avoyent  les  yeux  presses^ 

Enfermez  du  sommeil,  que  la  basse  riviere 
De  Styx  fait  distiler  desur  nostre  paupiere. 

Ja  les  Astres  au  Ciel  faisoyent  leur  demi-tour: 

Le  celeste  Bouvier  qui  se  roule  a I'entour; 

De  I’Ourse,  estoit  panche:  tout  ce  qui  vit  es  ondes,... 

Poissons,  Serpens,  Lions,  du  labeur  travaillez, 

Oublians  le  souci  du  somrne  estoyent  sillez. 

Un  seul  Mars  veille  au  Ciel,  qui  plein  de  frenaisie 
De  rage,  de  fureur,  d'ire,  et  de  jalousie, 

Ny  d'yeux  ny  d’estomac  ne  rs9oit  le  sommeil."!^ 


14Lau.,  IV,  30  and  see  note  5 of  this  section. 


111. 


OMENS  AND  PREDICTIONS 


Fire  starts  of  itself  on  an  altar,  Lau.,  II,  370;  , 

VIII,  105-106. 

Flash  of  lightning,  favorable  on  left,  ominous  on  right, 
Lau.,  I,  11,  IV,  193;  VII,  226;  A^. , II,  692-693. 

Warnings  from  heaven,  Lau.,  V,  201;  Ceor . . I,  464-465, 
481-483,  487-488; 

"Mais  avant  sa  venue,  en  cent  mills  presages 
Le  Ciel  nous  fait  certains  de  nos  future  dommages. 

Sans  nue  en  temps  serein  a dextre  il  fait  tenner. 

Par  I'obscur  de  la  nuict  il  nous  vient  estonner 
D'un  grand  chevron  de  feu,  qui  hideux  le  traverse. 

Puis  dessus  quelque  ville  il  torabe  k la  renverse: 

La  Comete  aux  grands  orins  tous  sanglans  et  ardans 
Predit  de  nos  malheurs  les  signes  evidans; 

Loire  enfle  de  ruisseaux  de  son  canal  feurvoye^ 

Et  la  Seine  les  champs  de  la  Bourgogne  noye:" 

Comets  as  omens,  Lau.,  I,  345;  II,  224;  Ceor. . I,  487-488. 

The  effect  of  the  evil  eye,  Lau.,  I,  351;  III,  435;  Ec. . 

Ill,  103. 

Birds'  cries  as  prognostic  of  rain,  Lau.,  II,  201;  Geor. . 

I,  388. 

Howling  of  animals  at  night  through  a city,  Lau.,  IV, 

223;  Geor. . I,  469-471,  486. 

Earth  terrified  by  frightful  cries  and  noises,  Lau.,  IV, 
206;  A^.,  VII,  512-515. 

Future  foretold  by  animals,  Lau.,  V,  58-60;  VII,  488;  Geor. , 
I,  374  ff. 

The  death  of  a prince  followed  by  such  ominous  events  as 

the  sun's  hiding  its  face,  wars,  and  famine,  Lau.,  V,  256,  360;  VI, 
615V^390-392;  Geor.  . I,  466-468,  490-492,  505-507. 


112. 


Weather  predictions  and  signs,  Lau.,  VI,  218,  282,  303; 
Geor. . I,  passim. 

Fires  at  night  as  omens,  Lau.,  VI,  4D4;  Geor. . I,  473, 

487-488. 

Light  gleaming  around  the  head  as  omen,  Lau.,  VI,  418; 
Aen. , II,  682-684. 

THE  GOLDEN  AGE 


Golden  Age,  described  often  as  followed  by  iron  age,  Lau., 


I,  206; 

II,  11,  173-174,  419, 

441, 

446; 

III, 

250-252, 

304-305, 

373- 

374, 

472, 

476;  IV,  45-47, 

204- 

207;  V 

, 30 

-31,  136, 

154-155, 

161, 

196; 

VI, 

149; 

VII,  489;  Ec., 

IV.  passim; 

V, 

60;  VI,  41 

; Geor . . 

I, 

185, 

146 

II,  336  ff,  474, 

537; 

Aen. , 

VI, 

792;  VIII 

, 324.^® 

The  Golden  Age  introduced  by  some  person,  Lau.,  Ill,  230, 

479;  VI,  310,  431;  , IV,  4 ff.;  A^. , VI,  792-794: 

"Qui,comme  Auguste,  apres  la  longue  guerre 
As  ramen^  I’age  d'or  sur  la  terre," 

"Augustus  Caesar,  Divi  genus,  aurea  condet 
saeoula  qui  rursus  Latio  rognata  per  arva."^° 

The  departure  of  Justice,  Lau.,  II,  321,  352,  441;  IV, 

47;  V,  34;  Geor.,  II,  474. 

Earth  produces  without  labor,  Lau.,  I,  365;  ^. , IV,  18-20. 

15The  Golden  Age  is,  of  course,  described  at  greater  length,  by 
some  of  the  ancient  poets  than  by  Virgil,  but  many  of  the  points 
of  Ronsard's  conceptions  are  the  same  as  Virgil's. 

l^Lau.,  VI,  310;  . , VI,  792-794. 


113 


Earth  produces  all  things,  Lau.,  VII,  431;  , IV,  39-40. 

Justice  prefers  the  woods  to  palaces,  Lau.,  II,  4;  IV, 

53,  266;  Geor. . II,  473-474. 

Justice  will  return  under  the  new  king,  Lau.,  IV,  213; 

Ec.,  IV,  6. 


OTHER  pastoral  IDEAS  AND  EXPRESSIONS 


Consolation  in  nature,  Lau.,  I,  81,  151;  II,  285,  326;  IV, 
40;  Ec.,  II,  3-5;  X,  35-36;  Geor . , II,  493-494. 

Rugged  oaks  bear  flowers,  Lau.,  I,  74;  Eg.,  VIII,  52, 

The  birth  of  a child  with  predictions  of  greatness,  Lau., 
II,  12,  259;  III,  478;  IV,  192-193;  V,  135;  VI,  16;  E^,  IV. 

Draught  of  Achelous  combined  with  another  wine,  Lau.,  IV, 
355;  Geor. , I,  9. 

a 

Garlands  fallen  from  head  of ^sleeping  person,  Lau.,  V, 

169;  Eg.,  VI,  14-16. 

Bees  which  love  the  flowers,  Lau.,  II,  285;  E^. , X,  29-30; 

V,  77. 

Slaking  one's  thirst  on  a summer's  day,  Lau.,  II,  285; 

Eg.,  V,  46-47. 

Nature  which  shares  the  ftelings  of  men,  Lau.,  I,  220;  IV, 
25,  34;  II,  285;  Eg.,  I,  38-39;  V,  62-64;  X,  13-15. 

Calling  stars  and  gods  cruel,  Lau.,  VI,  137;  Eg.,  V,  23. 
Exaltation  to  the  stars,  Lau.,  I,  11,  99,  66;  II,  6; 

V,  241,  321;  VI,  175;  Eg.,  V,  52;  Geor..  I,  32-35. 

Eg.,  V, 


A new  citizen  of  heaven  imposes  new  laws,  Lau.,  II,  188; 
79-80 . 


114. 


Something  impossible  is  more  likely  to  happen  than  that  a 
shepherdess  desert  her  lover,  etc.,  Lau. , I,  14,  26-27,  72,  74;  II, 
300,  450;  IV,  134;  Ec . , I,  59-63;  VII,  55-56;  VIII,  27-28;  52-56, 
Flowers  growing  up  where  the  shepherd's  sweetheart  has 
passed,  Lau. , I,  21,  109,  197;  III,  291,  473;  Ec. , VII,  57-60. 

As  long  as  various  things  endure,  Lau.,  I,  26,  , V, 

76-78. 

Verses  on  trees,  Lau.,  I,  30,  299;  V,  220;  VI,  10;  Eo . . 

V,  13-14;  X,  53-54. 

Fetters  made  of  garlands,  Lau.,  I , 43;Il360;  Eo,,  VI,  19, 
Annual  offerings,  sacrifices  or  games,  Lau.,  I,  61,  335, 
299,  II,  75;  IV,  40;  V,  277;  VI,  259;  Ec , , I,  42-43;  V,  67-68,  79- 
80;  VII,  33;  Aen.,  V,  46-47. 

Deification  after  death,  Lau.,  I,  219;  , V,  79-80; 

Geor, , I,  24-25. 

The  fly  which  makes  cattle  run  in  summer,  Lau.,  I,  183; 

V,  399;  VII,  195;  Geor..  Ill,  149-151. 

A vine  clinging  to  an  elm,  Lau.,  I,  259,  278,  363;  11,312; 
III,  193;  IV,  5,  69,  58,  76,  140;  VI,  138;  Ec. , II,  70;  V,  32; 
Geor.,  I,  2;  II,  221. 

Renewal  of  youth  of  serpents  in  spring,  Lau.,  I,  317;  II, 
204;  V,  265;  VI,  11;  Aen.,  II,  471-474. 

Fish  left  on  the  dry  sand,  Lau.,  II,  289;  ^. , I,  60. 

Happy  the  one  who  lives  in  the  country  and  is  free  from 
worldly  lusts,  Lau.,  II,  348;  V,  33,  80,  147;  Geor. . II,  458  ff. 

At  evening  the  wearied  oxen  return  home,  Lau.,  V,  72; 

VI,  297;  ^.,  II,  66-67. 


Tfai-rami 


115. 


Dust  thrown  by  a shepherd  to  catch  a butterfly,  Lau.,  V, 
219;  Geor. . IV,  87. 

Honey  on  oaks,  Lau.,  V,  220;  ^. , IV,  30. 

Actions  of  cows,  Lau.,  VI,  94;  Geor. . Ill,  217-219  and 

passim. 

Flock  spying  on  antics  of  ^Kepherds^  Lau. , VI,  174;  Ec . , III, 

8. 

Riddles  in  poetry,  Lau.,  Ill,  437;  ^. , III,  104-107. 

FIGURES^"^ 

A.  Axiomatic  statements: 

Continuous  labor  conquers  everything,  Lau.,  VI,  16;  Geor. . 

I,  145. 

By  such  a road  one  goes  to  heaven,  Lau.,  VI,  100;  Aen. . 

IX,  641. 

The  conqueror  is  often  conquered  by  the  vanquished,  Lau., 

I,  264;  Aen.,  II,  367-368. 

Shun  ambitious  gold,  Lau.,  I,  250;  Aen. . Ill,  56-57. 

A cowardly  soul  does  not  hazard  itself,  Lau.,  II,  114; 

Aen. . IV,  13. 

Immense  is  the  labor  before  glory  is  attained,  Lau.,  II, 
217;  Geor. . Ill,  288. 

^"^There  are  many  other  f igure^esides  those  cited  which  are  to  be 
found  in  both  Ronsard  and  Virgil,  but  it  is  practically  impossible 
to  determine  how  much  Ronsard  was  influenced  by  Virgil  in  them 
since  they  are  used  by  all  ancient  writers.  F.  Kohler  (Die  Allit- 
teration  bei  Ron  sard.  Erlangen  und  Leipsif*,  1901)  has  treated 
Ronsard’ s use  of  alliteration  in  great  detail.  A number  of  other 
figures  are  menliioned  elsewhere  in  this  section.  


116. 


Easy  is  the  descent  to  hell,  Lau. , II,  338;  Aen. . VI, 

136-127. 

Each  one  follows  his  own  desires,  Lau,,  III,  510;  Ec. . 

II,  65. 

B.  Similes  and  Comparisons 

Like  a frail  ship  at  sea,  Lau.,  I,  28,  III,  282;  Clris. 

479-480. 

Like  an  animal  free  in  the  open  air,  Lau.,  I,  29,  III, 
281;  A^. , XI,  492-497. 

Like  the  myriad  colors  of  a rainbow,  Lau.,  I,  31;  Aen.  . 

V,  88-89. 

Like  wax  melting  in  a flame,  Lau.,  I,  55,  77,  181;  IV, 

18,  70;  Ec. , VIII,  80-81. 

Like  a rock  beaten  by  winds  and  waves,  Lau.,  I,  71^  III, 
266;  IV,  335;  V,  86,  383,  416;  VI,  363,  410;  Aen. . VII,  586-590; 

X,  693-696. 

Like  waves  advancing  and  retreating,  Lau.,  I,  93;  II,  386; 

III,  248;  Am.,  XI,  624-628. 

Like  a jewel,  Lau.,  I,  129;  Aen. . X,  134-135. 

Like  a flower  beaten  down  by  a shower,  Lau.,  I,  182,  216; 
II,  280;  V,  245,  249;  Aen.,  IX,  436-437. 

Like  li^t  shining  on  water,  Lau.,  II,  66;  Aen. . VIII, 

22-25. 

Vanishing  like  smoke,  Lau.,  II,  67,  II,  324,  423,  454;  III 
296,  342;  Geor. . IV,  499-500. 

Like  wild  animals  driven  by  hunger  to  great  slaughter, 
Lau.,  II,  105;  Aen.,  II,  355-357;  IX,  339-341. 


117. 


Like  a flock  of  s’-vans  or  cranes  in  a squadron,  Lau.,  II, 
143;  III,  507;  Aen . , VII,  699^  700. 

Like  a tree  rising  above  its  neighbors,  Lau.,  II,  25^'j  IV, 
195;  VII,  457;  Ec • > I » 25. 

Like  grain  tossing  in  the  wind,  Lau.,  II,  299,  372;  Geor. . 
Ill,  196-199. 

Like  a shooting  star  or  comet,  Lau.,  II,  62,  389;  III,  198, 
V,  29;  Aen. . V,  527-528;  Geor. . I,  365-367. 

Like  a mountain  torrent  which  sweeps  away  everything  in  its 
path,  Lau.,  Ill,  264;  IV,  32;  V,  45,  141,  266;  Aen.,  XII,  523-525; 
II,  305-307;  Gcor. . I,  481-483. 

Like  phantoms  of  the  dead,  Lau.,  HI,  335;  Aen.,  X,  641. 

Like  Diana  leading  her  chorus,  Lau.,  Ill,  330;  Aen. . I, 

498-500: 

"Comme  paroist  Diane  la  Deesse 
Par-sur  lecKoeur  de  see  Nymphes  sautant, 

Quand  pres  d'Eurote  elle  va  s’esbatant." 

"qualis  in  Eurotae  rip is  aut  per  iuga  Cynthi 
exercet  Diana  chores,  quam  mills  secutae 
hinc  atque  hinc  gloraerantur  Oreades " 

Like  a man  calming  a riot,  Lau.,  IV,  94-95;  Aen. . I,  148- 

153: 

”Tout  ainsi  qu’il  advient  quand  une  tourbe  esmue 
QUi  de9a  qui  dela  ardente  se  remue 
De  courroux  forcen^e,  et  d'un  bras  furieux 
Pierres,  flames  et  dards  fait  voler  jusqu'aux  cieux: 

Si  de  fortune  alors  un  grave  personnage 
Survient  en  telle  esmeute,  elle  abat  son  courage, 

Et  d’oreille  dress6e  elle  s'arreste  coy, 

Voyant  ce  sage  front  paroistre  devant  soy 
Qui  doucement  la  tance,  et  d’un  gracieux  dire 
Luy  flatte  son  courage  et  tempers  son  ire.” 


I 

i' 

( • 

s 

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118 


”ac  veluti  magno  in  populo  cum  saepe  coorta  est 
seditio,  saevitque  animis  ignobile  volgus, 
iaraque  faces  et  saxa  volant  (furor  arma  ministrat), 
turn  pietate  gravem  ac  meritis  si  forte  virum  quern 
conspexere,  silent  arrectisque  auribus  adstant; 
ille  regit  dictis  animos  et  pectora  mulcet." 

Like  wind  or  a dream,  Lau. , I,  305;  II,  324,  454;  IV,  169 
194;  Aen.,  VI,  702. 

Like  a storm  which  drives  the  sea,  Lau.,  V,  256,  406; 
Geor. . Ill,  200-2O1;  Aen.,  VII,  528-530;  X,  356-359. 

Like  hail,  Lau.,  VII,  433;  Geor.,  IV,  80;  , V,  458; 


VI,  669. 


Like  the  workmen  of  Vulcan,  Lau.,  V,  146;  Geor.  . IV,  170- 

175. 

Like  the  fall  of  a great  tree,  Lau.,  V,  284;  Aen. . V, 

448-449. 


Like  a forest  fire  started  through  the  carelessness  of  a 
shepherd,  Lau.,  IV,  183;  VII,  445;  Aen.,  X,  405-409;  Geor. . II, 
303-311: 


”Comir.e  on  voit  bien  souvent  (quand  un  Pasteur  qui  garde 
Ses  troupeaux  dans  un  bois,  et  laisse  par  mesgarde 
Choir  en  un  chesne  creux  quelque  tizon  ds  feu_, 

La  flame  en  tournoyant  s’augmente  peu  a peu 
le  commencement,  plus  le  feste  s’allume. 

Puis  touts  la  forest  s'embraze  et  se  consume) 

Un  rapli  de  fumee  entre-suivi  de  pres. 

Puis  un  autre  et  un  autre,  et  puis  un  autre  apres 
Se  voute  en  ondoyant:"!^ 

”Ainsi  qu'on  voit  souvent 
De  petite  estincelle  a 1 'abandon  du  vent 
S'eslever  un  grand  feu,  qu’un  Pasteur  par  mesgarde 
Laisse  tomber  au  bois:  1' estincelle  se  garde 
Dans  I'escorce  d'un  arbre,  et  tous;jours  peu  h.  peu 
Se  repaist  de  soy-mesme,  et  nourrist  \in  grand  feu: 
Jusqu'au  sommet  des  pins  le  braisier  se  va  prendre,... 
Le  Pasteur  estonne  cache  soubs  un  rocher 
De  bien  loin  voit  la  flamme  et  n'en  ose  aprocher."^^ 

18Lau.,  IV,  183. 

^®Lau.,  VII,  445. 


119. 


Swift  as  lightning,  Lau. , I,  268;  Aen. . XI,  718. 

Swifter  than  an  arrow,  Lau.,  I,  1C;  Aen. . X,  248. 

Numerous  as  flakes  of  snow,  Lau.,  II,  396;  Aen..  XI,  611. 

It  is  easier  to  join  Scotland  to  Arabia,  India  to  the  Oc- 
cident than  to  restrain  one’s  desires,  Lau.,  VI;  140;  ]^.,  I,  62-63. 

MISCELLANEOUS 

A priestess  mad  from  divine  inspiration,  described  at 
times  with  her  exorcisms,  Lau.,  I,  15;  II,  82,  219;  III,  188; 

IV,  6;  V,  45  , 401;  VI,  144,  184;  ^. , VI,  46  ff.,  77  ff., 

258  ff. 

Paraphrase  of  lines  ascribed  to  Virgil  in  Vi ta  VirgilU 

(^17)  by  Donatus,  Lau.,  Ill,  273;  VI,  24: 

”Ainsi  les  gros  toreaux  vont  labourant  la  plains, 

Ainsi  les  gras  moutons  au  dos  portent  la  laine, 

Ainsi  la  raousche  a miel  en  son  petit  estuy 
Travaille  en  se  tuant  pour  le  profit  d'autruy.”  ^ 

Figurative  expression  of  dawn  - Aurora  leaving  the  saffron 

couch  of  Tithonus,  Lau.,  I,  45;  III,  221;  IV,  315,  307;  V,  83,  152; 

Gepr. , I,  447;  Aen. . IV,  585;  IX,  460. 

The  spirited  war  horse,  Lau.,  Ill,  248;  II,  111;  Geor . . 

II,  145. 

The  English  separated  from  the  rest  of  the  world,  Lau.,  II, 
152;  VI,  111;  ^.,  I,  67. 

20Lau. , III,  273.  The  Latin  words  are; 

"Sic  VOS  non  vobis  fertis  aratra  boves. 

Sic  VOS  non  vobis  nidificatis  aves. 

Sic  VOS  non  vobis  mellificatis  apes 
Sic  vos  non  vobis  vellera  fertis  oves." 

These  lines  were  printed  at  the  end  of  the  Eclogues  et  Mascarades 
of  the  1587  edition. 


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ISO. 


The  truth  of  antiquity,  Lau.,  VI,  136;  Aen . . IX,  79. 
Snatching  (generally  three  tiroes)  at  a phantom,  as  in  a 
dream,  and  getting  nothing,  Lau.,  I,  15,  179,  291;  IV,  104;  V,  165, 
325,  364;  Aen.,  II,  792-794;  VI,  700-701. 

Earth  present  at  a contract,  Lau.,  I,  261;  Aen. . IV,  166- 

167. 

Immortality  to  be  gained  by  those  mentioned  in  a poem, 

Lau.,  I,  296,  II,  6,  455;  ; Aen.,  IX,  446-449;  X,  791-793. 

Referenoe  to  the  Trojan  war  as  the  strife  which  confound- 
ed all  Europe  and  Asia,  Lau.,  I,  299;  Aen. . VII,  224;  X,  91. 

The  king  (or  his  son)  will  extend  the  boundaries  of  France: 
may  I be  the  singer  of  his  deeds,  Lau.,  II,  73,  90;  VII,  226;  Ec. . 
IV,  53-54;  Aen. . I,  287;  VI,  801-805. 

Boyhood  paraphrased  - as  soon  as  you  can  learn  to  read, 
Lau.,  II,  260;  Ec. , IV,  26-27. 

Youth  paraphrased  - when  the  cheeks  are  covered  with  soft 
yellow  hair,  Lau.,  Ill,  238;  IV,  27;  V,  249;  Aen. . X,  324. 

Glorification  of  various  countries,  Lau.,  II,  409;  III, 

248;  IV,  64,  195;  Geor. . II,  136  ff. 

Earth  united  with  Heaven  or  Jupiter  to  produce  spring, 

Lau.,  Ill,  308;  IV,  300;  Geor. . II,  325-327. 

A wounded  deer  seeks  the  herb  which  is  the  panacea  for 
animals,  Lau.,  IV,  15;  Aen. . XII,  414-415. 

”Thou  art  not  a mortal,  but  a goddess'*,  Lau.,  IV,  120; 

Aen. . I,  327-330: 

"D6esse  approche  toy,  conte  moy  ta  vertu, 

D'ob.  os-tu?  d'oti  viens-tu?  et  ou  te  loges-tu? 

A voir  tant  seulement  ta  brave  contenance, 

D'un  pauvre  laboureur  tu  n'as  prins  ta  naissance: 


121. 


"Tes  mains,  ton  front,  ta  face  et  tee  yeux  ne  sont  paa 
Semblables  aux  mortels  ici  bas." 

"o  - quam  te  mernorem,  virgo?  namque  baud  tibi  voltus 
mortal is,  nec  vox  hominem  sonat;  o dea  oerte! 
an  Phoebi  soror?  an  Nympharum  sanguinis  una? 
sis  felix  nostrumque  leves,  quaecumque,  laborem," 

A ship  rowed  smoothly  over  the  sea  out  of  sight  of  land, 
Lau.,  IV,  184;  Aen . , I,  34-35;  V,  2,  8-9. 

"Adoncque^  la  gal  ere  egalement  tiree 
Alloit  a dos  rompu  dessus  I'onde  azur^e, 

Et  de  longs  pi is  courbez  s ' entre-coupant  le  dos 
Se  trainoit  en  ronflant  sur  les  bosses  des  flos: 

Le  rivage  s'enfuit,  et  rien  n'est  manifests 
A leurs  yeux  que  la  mer  et  la  voute  oeleste." 

If  night  had  not  taken  pity,  a same  day  would  have  finish- 
ed the  War  and  the  nation,  Lau.,  V,  284;  Aen.  . IX,  757-759: 

”Et  si  la  nuict  (bonne  mere  commune) 

N'eust  eu  piti^  de  si  triste  fortune,... 

Un  mesme  soir  par  mesme  destin^e 
Avoit  finy  la  guerre  et  leur  journ^e." 

"et  si  continue  victorem  ea  cura  subisset, 
nimpere  claustra  manu  sociosque  immittere  portis, 
ultimus  ills  dies  bello  gentique  fuisset." 

Happy  those  who  died  in  their  native  oo\mtry,  Lau.,  V, 

244;  Aen.,  I,  84-98; 

"C)/trois  fois  grand  esprit  heureux  entre  les  Dieux, 

Estoile  des ^Francois^ tu  dois  estre  joyeux 
D' avoir  paye  ta  aebte  au  giron  de  ta  mere, 

Et  de  n’ estre  couvert  d'une  terre  estrangere." 

"0  terque  quaterque  beati, 
quis  ante  ora  patrum  Troiae  sub  moenibus  altis 
contigit  oppetere!  0 Danaum  fortissimo  gentis 
Tydidel  mene  Iliacis  occumbere  oampis 
non  potuisse  tuaque  animam  hano  effundere  dextra," 

Instructions  to  cease  spending  time  in  idleness,  Lau.,  V, 


374;  Aen.,  IV,  265-2'IS: 


122. 


“Mon  filsj  il  ne  faut  plus  qua  tu  laisses  rouiller 
Ton  esprit  en  pareose,  il  te  faut  despoulller 
Cost  habit  monstmaux. " 

Dragging  animls  by  their  tails  to  hide  their  tracks,  Lau., 

VI,  32;  Aen. . VIII,  209-211: 

" les  tirant  par  la  queue, 

Afin  que  de  leurs  pas  la  trace  ne  fust  veue." 

"atqua  hos,  ne  qua  forent  pedibus  vestigia  rectis, 
oauda  in  speluncam  tractoe  versisque  via rum 
indiciis  rap  to  s saxo  occultabat  opaco." 

Reechoing  of  name  along  a river  bank,  Lau.,  VI,  160;  Geor., 
IV,  525-527: 

"Paschal  Paschal  Garonne  resonnant, 

Rien  que  Paschal  ne  responde  sa  rive." 

" Eurydicen  vox  ipsa  et  frigida  lingua, 

a miseram  Eurydicen!  anima  fugiente  vocabat. 

Eurydicen  toto  referebant  flmine  ripae." 

Farmers  will  be  shocked  at  finding  so  many  bones,  Lau., 

VII,  433;  Geor. . I,  493-497. 

"Certes  un  temps  viendra  qu'aux  champs  de  ce  pais 
Les  laboureurs  de  la  seront  tous  esbahys 
De  heurter  de  leur  soc  tant  de..jClapitaines." 

Mountain-top  (personified)  covered  with  ice  or  a beard 
stiff  with  ice,  Lau.,  VI,  156;  IV,  327;  Aen. . IV,  250-251;  Geor. . 
Ill,  366. 


Ants  at  work,  Lau.,  VI,  220;  Aen. . IV,  402-407. 

A field  of  grain  destroyed  by  a storm,  Lau.,  IV,  171;  V, 
24,  294;  Geor. . I,  316-321: 

"Las!  qui  verroit  dans  un  gros  labourage 
Tomber  du  Ciel  le  malheureux  orage, 

Qui  d'une  gresle  et  d*un  vent  jusqu’au  fond 
Perdroit  les  bleds  qui  ja  grandets  se  font 
Tout  herissez  d' espies,  o-h  la  semence 
A se  former  a quatre  rangs  commence, 

Et  laisseroit  seulement  dans  les  champs 
La  noire  yvraie,  et  les  chardons  tranchans. 


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123 


"La  ronce  aigae,  et  la  mordante  espine 
Qui  sur  le  bled  miserable  doraine:" 

"saepe  ego,  cum  flavis  messorem  induoeret  arvis 
agricola  et  fragili  iam  stringeret  hordea  culmo, 
omnia ventorura  concurrere  proelia  vidi, 
quae  gravidaai  late  segetam  ab  radicibus  irais 
sublimem  expul sara  eruerent;  ita  turbine  nigro 
ferret  hiems  culmumque  levem  stipulasque  volantis. 

The  winds  which  precede  a storm,  Lau.,  IV,  171;  V,  118; 
Geor. . I,  356-357. 

The  fr-vo  poles  of  the  earth  shaken  by  thunder,  Lau.,  II, 

1 30 ; • i I » 90  • 

The  land  allowed  to  lie  fallow  every  other  year,  Lau.,  V, 
185;  Geor. . I,  71-72. 

The  year  turns  back  on  itself,  Lau.,  I,  ICff;  Geor. . II, 

402. 

The  combat  a cheval  which  is  like  the  manoeuvres  of  the 
Trojan  boys,  Lau.,  Ill,  507,  V,  277;  Aen. . V,  580-595. 

"Tantost  vous  les  voirrez  a courbettes  danser, 

Tantost  se  reouler,  s'approcher,  s*avancer, 

Sfescarter,  s'esloigner,  se  serrer,  se  rejoindre 
D'une  point  allong^e,  et  tantost  d’une  moindre, 
Contrefaisant  la  guerre  au  semblant  d'une  paix^ 

Croisez,  entrelassez  de  froit  et  de  biais, 

Tantost  en  forme  ronde,  et  tantost  en  carr^e, 

Ainsi  qu'un  Labyrinth,  dont  la  trace  esgar^e 
Nous  abuse  les  pas  en  see  divers  ohemins. 

Ainsi  qu'on  voit  danser  en  la  mer  les  Dauphins." 

"olli  discurrere  pares  atque  agmina  terni 
diductis  solvere  choris  rursusque  vocati 
converters  vias  infestaque  tela  tulere. 
inde  alios  ineunt  cursus  aliosque  recursus 
adversi  spatiis,  alternosque  orbibus  or  bis 
impediunt,  pugnaeque  cient  simulacra  sub  armis; 
et  nunc  terga  fuga  nudant,  nunc  spicula  vertunt 
infensi,  facta  pariter  nunc  pace  feruntur. 
ut  quondam  Greta  fertur  Labyrinthus  in  alta 
parietibus  textum  caecis  iter  ancipitemque 


21 


Lau.,  V,  294;  Georg. . I,  316-321,  Of.  also  Ec. . 


V,  36-39. 


124. 


"mille  viis  habuisse  dolum,  qua  signa  sequendi 
falleret  indeprensus  at  inremaabilie  error: 
baud  alio  Teucrum  nati  vestigia  cursu 
impediunt  texuntque  fugas  et  proelia  ludo, 
delphinum  similes,  qui  per  maria  umida  nando 
Carpathium  Libycumque  secant  luduntque  per  undas 

The  beginning  of  a short  epitaph  paraphrases  that 
ally  ascribed  to  Virgil,  Lau.,  V,  311: 

"Crete  me  fist,  la  France  m'a  nourry. 

La  Normandie  ici  me  tient  pourry." 

"Mantua  me  genuit,  Calebri  rapueri,  tenet  nunc 
Parthenope:  cecini  pascua,  rura, duces." 


^^Lau.,  Ill,  507;  Aen. . V,  580-595. 


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125, 


PART  III 


CONCLUSION 


There  yet  remains  to  summarize  Ronsard's  relationship  to 
Virgil,  In  the  first  place  it  has  been  seen  that  Ronsard  read 
Virgil's  works  at  a very  early  age,  and  according  to  his  own  words 
learned  them  by  heart.  He  studied  Virgil  very  carefully  in  company 
with  "Seigneur  Paul"  or  Claudio  Duchi,  with  whom  he  became  acquaint- 
ed when  he  was  a page,  and  retaining  his  admiration  for  the  Latin 
poet  throughout  his  life,  at  its  close  still  enjoyed  translating 
passages  from  him  into  French  poetry.  His  desire  to  imitate  Virgil 
is  to  be  seen  in  the  doctrine  of  his  school,  the  Defense  et  Illustra- 


tion de  la  langue  franco ise.  in  which  Virgil's  Eclogues  are  specifi- 
cally urged  as  models,  and  in  his  own  theoretical  prose  works,  the 
Abrege  de  1 'art  poetique  and  the  1572  and  1587  prefaces  of  the 
Franciade . in  which  Virgil  is  declared  to  be  the  greatest  Latin  poet 
and  is  cited  as  a model  oftener  than  any  other  poet.  The  desire  to 
write  an  epic,  too,  connects  Ronsard  very  closely  with  Virgil,  for 
the  conception  and  plan  of  the  epic  he  wished  to  write  were  very 
similar  to  those  of  the  Aeneid.  Lines  referring  to  this  Virgilian 
epic,  the  Franciade . can  be  found  in  poems  of  1545  (approximate 
date),  1549,  1550,  1552,  1553,  1554,  1555,  1556,  1558,  1562,  1563, 
1567,  1572  and  1584.  In  addition  much  of  the  poet's  time  between 
1566  and  1572  was  spent  in  writing  the  first  four  books  of  the  poem 
and  later  much  energy  was  expended  on  the  alterations  of  the  editions 
of  1574,  1578,  1584,  and  1587.  In  other  words,  Virgil  was  almost 


126. 


constantly  before  Ronsard's  eyes  as  a model.  The  esteem  of  his  as- 
sociates and  friends,  Peletier,  Du  Bellay,  Jodelle,  and  dee  Masures 
for  Virgil  contributed  to  his  interest  in  Virgil.  In  his  own  poems 
there  are  frequent  references  to  Virgil,  to  favorite  Virgilian  pas- 
sages, and  to  characters  of  Virgil,  among  which  latter  Aeneas, 
Anchises,  and  Dido  are  most  often  mentioned. 

As  for  Ronsard's  actual  imitation  of  Virgil,  the  Franc lade 
(1572)  is  of  greatest  importance,  but  there  is  a large  number  of 
other  poems  which  owe  their  inspiration  primarily  or  at  least  to  a 
great  extent  to  Virgil,  The  earliest  of  these  to  be  published  is 
the  Hvmne  de  France  (1549)^  imitated  from  Virgil's  eulogy  of  Italy. 
The  Avantentree  du  Roi  tresohrestien^  of  the  same  year  is  both  in 
idea  and  movement  similar  to  the  fourth  Eologgie  and  has  reminiscences 
of  several  other  Eclogues.  The  Avant-venue  du  Printemos  (l550)^  is 
borrowed  almost  entirely  from  the  descriptions  of  spring  in  the 
Georgies.  The  Peintures  d'un  Pay sage  (1550)^  include  several  Virgi- 
lian scenes,  - the  Cyclops  at  work  under  Mt.  AEtna,  a sea  storm, 

Juno  cajoling  Jupiter,  and  all  creatures  inflamed  with  love.  The 
Ode  de  1 ' Este  (l550)®  is  another  ode  on  the  seasons  which  owes  much 

to  the  Georgies.  The  Ravlssement  de  Cep hale  (l550)®  in  addition  to 

booK 

describing  another  sea  storm  borrows  directly  from  the  fourth^of  the 
Aeneid  for  much  of  the  characterization  of  Aurore.  A long  passage 
from  the  Hvnne  Triomphale  (1551)'^  is  imitated  directly  from  the  jour- 

booK 

ney  of  Mercury  to  earth  also  in  the  fourth^ of  the  Aeneid.  The 


jLau.,  Vt, 
“Lau.,  VI, 
3Lau.,  II, 
|Lau.,  VI, 
gLau.,  II, 
^Lau.,  II, 


79. 

74. 

171. 

104. 

272 

329. 


*^Lau.,  II,  390. 


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127. 


apotheosis  of  Marguerite®  in  the  same  collection,  Le  Tombeau  de 
Maremeri te,  is  similar  to  that  of  Daphnis  in  the  fifth  Eclogu_e_. 

The  Discours  a Qdet  de  Colligny  (1560)®  contains  a series  of  com- 
parisons all  of  which  are  in  Virgil.  The  imitation  of  the  first 
Qeorgic  found  in  the  first  Discours  a la  Royne  (1562)^®  in  the  Dis- 
cours  des  Miseres  de  oe  temps  is  especially  important  since  it  show£ 
that  Ronsard  remembered  Virgil  when  he  was  writing  on  a serious 
topic  in  which  he  was  passionately  interested.  Among  the  Epitaohes 
that  of  Claude  d'Aubespine (l57l)^^is  especially  Virgllian.  Four 
sonnets  stand  out,  - the  first.  Audit  S,  de  Beaumont  (1552),  imitate  3 
the  fourth  Eclogue,  the  second,  the  spring  descriptions  of  the 
Eclogues  and  Georgies,  the  third, Dido’s  invectives,  and  the  last, 
the  end  of  the  fourth  Georgia^?  Two  very  close  imitations  are  the 
caestus  fight  of  the  Hvnne  de  Pollux  et  de  Castor  (1556)^®  and  the 
story  of  Orpheus  in  the  poem  by  that  name  (1563)^^.  The  Cartel 
pour  le  combat  a cheval  (1584)^®  is  inspired  by  the  description  of 

booK 

the  manoeuvres  of  the  Trojan  boys  in  the  fifth^of  the  Aeneid  ^using 

the  same  figures  of  the  dolphins  and  the  labyrinth.  Many  of  the 

Paroles  que  dist  Cal vp son . ou  qu * el 1 e devoit  dire . voyant  partir 

Ulvsse  de  son  Isle  (1569)^®  are  like  Dido’s  denunciation  of  Aeneas. 

In  the  Dialect  jque  (l555)^'7  of  Pierre  de  la  Ramee  are  translations 

of  a number  of  Virgil ian  passages.  Several  poems  in  which  plans  for 

the  Fran ciade  are  given  have  passages  imitated  from  the  Aeneid.  es- 

18 

pecially  the  Ode  de  la  Paix  (1550)  and  the  Ode  au  Roy  Henry  II (1555) 


SLau. , 
^Lau. , 
lOLau. , 
H^au., 


II,  404. 

V,  179. 

V,  329. 

V,  297. 

II,  22;  I, 
IV,  277. 


78,  143, 


14Lau. , 
l®Lau. , 

124. 

l^Lau. , 


IV,  77. 
Ill,  506. 

V,  62. 

VI,  396. 


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128 


Of  the  Eclogues  two  are  more  dependent  upon  Virgil  than  the  rest. 


The  first  or  Bergerie^^  imitates  lengthy  passages  of  the  fifth  and 
fourth  Eclogues  and  the  eulogy  of  Italy  of  the  second  Georglc.  The 
fourth^O  follows  a great  part  of  the  third  Virgil ian  Eclogue  very 
closely  and  has  Important  borrowings  from  other  Eclogues . 

These  twenty-five  poems,  however,  represent  but  a small 
portion  of  the  imitations  and  reminiscences  of  Virgil  to  be  found  in 
Ronsard.  To  understand  the  scope  of  these  borrowings  it  is  best  to 
approach  the  subject  from  the  other  direction  and  to  enumerate  the 
Virgilian  lines  which  correspond  to  some  passage  of  Ronsard.  The 
following  tables  show  approximately  how  much  of  Virgil  is  in  Ronsard 
poems  not  including  the  Franc iade:^^ 

Eclogue  1 1 3-5  — f(III);  7-8— D (8);  14-15— D(38);  25— D(49), 
C(59),  F (VIII);  34-35  — D (49);  38-39  — F (VII);  43-43  — F (VII)j 
45-46  — D(9,23);  59-63  — F (VII);  60  — F (VII);  62-63  — F(VIII); 
67  — F (IX);  75  — D(49),  F(III);  76  — D(38,49). 

Eclogue  II:  3-5  — D(49),  F(III),  F (VII);  4-5  — C(l); 

10-11  — A(64);  12-13  — A(68);  13  — D(34);  16-18  — D(36),  C(87); 

19-32  — D(47),  D(49);  25-27  — D (47);  33  — D(35,44);  43  — C(l3); 

45-49  — C(14),  A(78);  56-58  — D(48);  63-65  — A(67) , D(49),  D(27), 

F(VIII);  66-67  — F(VII);  67-68  — D(26,39);  70  — A(26)  D(49),  F(VII 
71-72  — A(69),  D(48,49). 


8 


J;^Lau.,  Ill,  355, 

|0Lau.,  Ill,  427. 

2lThe  tables  indicate  the  lines  in  the  Virgilian  poem  together  with 
the  numbers  of  the  notes  in  this  article  that  furnish  the  corres- 
ponding passages  in  Ronsard.  The  Roman  nuoB  ral  I refers  to  Part  I, 
the  letters  A,  B,  C,  etc.,  to  sections  of  Part  II,  and  the  Roman 
numerals  in  parentheses  to  subdivisions  of  section  F. 


. t \ 


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Q 


129. 


Eclogue  III:  5— D(49);  8 — F(VII);  17-18  — D(33);  20  — D 


(33);  29-33  — D(42,49);  35-36  — D(49,42);  36ff.  — C(82),  A(78); 
36-43  — D(49);  43  —D(42)  j 43-44— C(82) ; 50  — D(28);  55-59  — D(43), 
A(28),  C(l),  D(28,34,49\  C(l6);  60  — D(35,44);  62-63  — D(35);  67- 
D(35,36);  68-69  — C(l3) , D(36);  80  — D(49);  84-90  — D(37);  94-96— 
D(38);  97  — D(49);  100-101  — D(38);  103  — D(38) , A(45),  F(V); 
104-109  — C(86),  D(29,40,49),  F(VII);  111  — F(III). 

Eclogue  IV:  4ff  — F(VI);  6 — A(27),  B(23),  D(49),  F(VI); 

6ff  — A(6),  d(49);  6-10  — C(lO);  8-10  — D(49),  F(I);  13-14  — C(lO) i 
18-20  — A(26),  0(34),  D(45),  F(VI)j  24-25  — D(l6),  C(34);  26-27  — 
0(10),  F(IX);  30  — A(8),  D(21,45,49),  F(VII);  32-33  — D(l7);  34-36-- 
0(10),  D(17);  37-39  — 0(34,10),  D(l8);  38-41  — 0(34),  D(l9),  C(54) , 
F(VI);  42-45  — D(2l);  50-52  — A(28);  53-57  — 0(29) , F(III);  53- 
54  — F(IX);  passim  — F(VI,  VII). 

Eclogue  V:  5-7  — D(6,32);  12  — D(49);  13  — B(15),  D(49); 
13-14  — F(VII);  19  — D(6,49);  20-21  — A(38,86),  D(10);  23  — C(48) 


F(VII);  25-26  — D(lO);  26-27  — C(52);  27-28  — D(lO);  32  — A(26) , 
D(49),  F(YII);  32-34  — B(l2),  D(ll,49);  34-39  — D(45,49,ll);  40-42 
B(14),  D(ll);  42-44  - B(13);  46-47  — D(49),  F(VII);  52  — F(VII); 
56-57  — A (38),  D(12),  B(11);  58-59  — B(l6) , F(l);  60  — F(VI); 
62-65  — D(5,12),  F(VII);  66  — B(14)  ; 67—  A(85),  D(13,49),  B(16)  ; 
67-68  — F(VII);  72  — D(l3);  74  — a(28);  76-78  — D(l4,49),  F(VII) 


79-80  — A(28,38,85),  D(15,49),  F(VI1);  81  — D(46);  82-85  — 

D(29,46);  88-89  — D(46,49). 

Eclogue  VI I 1 — D(49),  F(III);  3-10  — A(57);  6 — F(III); 
11-12  — F(I);  14-16  — F(VII);  19  — F(VII);  27-28  — 0(36);  31-40  - 
A(28);  41  — F(I,  VI);  43-44  — 0(3l);  82-83  — D(49),  F(l) . 


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130. 


Eclogue  VII:  1-5  — D(30);  5 — D(41);  6-7  — D(3l);  8—  D 

(32);  33  — D(49),  F(VII);  53-57  — D(45),  F(VII);  57-60  — D(45,49), 
F(VII);  61-64  — F(I);  65  - C(l6) . 


Eclogue  VIII:  27-28  — F(VII);  37-38  — D(25);  41  — D(25) 

49-50  — F(II);  52.fJ— F(VII)  ; 52-56  — F(VII);  59-60  — F(ll);  64-65 
B(28);  69  — A(45),  D(l6);  73-75  ~ F(II);  80-81  — F(II),  F(VIII); 
82  — B(28);  97-98  — A(43),  D(16);  102  — F(II);  105-106  — F(V) . 

Eclogue  X;  7 — A(74);  8 — D(34);  13-15  — F(VII);  29-30 
F(II,VII);  35-36  — F(VII);  40  - C(ll),  D(49);  43  — C(l2);  53-54  — 


D(39,49),  F(VII);  69  — D(49);  71  — A(69). 


Georgies  1:  2 — F(VII);  9 - - F(VII);  18  — F(l);  24-25— 
F(VII);  24-42  — a(38);  24-25  — F(VII);  31  — F(l);  32-35  — B(3), 
A(62,71),  F(VII);  42  — A(28);  43-44  — A(30),  B(19),  F(IV);  44-46  — 
F(IV);  56-57  — A(26),  B(24);  60-63  — B(l7) , F(l);  71-72  — F(IX); 
125-146  — A(37),  F(VI);  126-128  — D(l6);  131  — a(8);  132  — D(20); 
139  — D(49);  145-146  — A(32),  F(VIII);  146  ff.  — F(VI);  217-218  — 
A(30),  0(3);  259-261  — F(IV);  297  — A(63);  311-315  — F(IV);  316- 
321  — 0(49),  F(IX);  356-359  — F(IV,  IX);  365-367  — F(VIII);  374ff. 
— F(V);  388  — F(V);  436-437  — F(l);  447  — F(IX);  464-465  — 0(41) 


F(V);  466-468  — D(7,10),  F(V) ; 469-471  — 0(32),  F(V);  473  — F(V); 
474-475  — 0(32);  477-478  — 0(32),  D(l6);  481-483  — A (81),  C(41), 
F(V,  VIII);  486  — A(44),  F(V) ; 487-490  — 0(32,41,  43),  D(7),  F(V); 
489-497  — B(18);  490-492  — F(V);  493-487  — B(24),  F(IX);  498-501  -■ 
0(47);  505  — 0(44);  506-508  — 0(44),  D(7,17),  F(V);  510-514  — 0 
(45);  passim  — F(V) . 

Georgies  II:  1-3  ~ 0(88);499  — A(85);  116-117  — A(26), 

B(24);  136-139  — A(7,40),  D(22);  136  ff.  — F(IX);  140-144  — a(9). 


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131. 


F(I);  144-145  — A(10),  F(IX);  149-150  — A(11),  D(49);  151-154  — 

A (8),  D(22);  155-156  — A(l8);  157-158  — A(23,80),  D(22);  158-161  — 
A(15,18);  158-164  — D(22);  165-166  — A(12);  167-172  — A(24), 

D(22);  173-176  — A(25,21 ,80) , D(24,49);  221  — C(l6),  F(VII);  303- 
311  — D(49),  F(VIII);  319-322  — F(IV);  323ff.  - F(IV);  325-331  — 
A(32,55),  C(1),  F(II,IX);  332-334  — A(30);  335  - A(31);  336-342  — 
a(36),  F(VI);  338  — D(16);  353  — A(62),  C(2),  F(IV);  402  — C(3), 
F(IX);  458  - 473  — A(20),  C(l8,39),  F(VII);  473-474  — A(27,40,71), 
B(l8),  0(44),  F(VI);  475-476  — C(40),  F(III);  485  -489-- 
0(40);  490-502  — A(16,  83),  F(III,VII);  490-512  — 0(39);  503-512  -■ 
A(60);  513-518  — A(59),  0(18) ; 519-523  — F(IV);  537-540  — A(37), 
D(16),  F(VI). 

Georgies  III:  1 — D(35);  2 — F(I);  3-9  — B(20);  8-9  — 

A(5),  B(3),  F(III);  10-12  — A(17,58),  D(49),  F(III);  14-15  — A(39, 
81);  27  — B(24);  30-31  — B(24);  42-45  — F(I);  149-151  — F(VII); 
196-199  --  0(37,49),  F(VIII);  200  — 0(37);  212-217  — A(72),  F(II); 
217-219  — F(VII);  220—  D(49);  222-223  — F(II);  242-244  — A(34, 
54),  F(II);  253-254  — F(7);  259-263  — A(54);  269-274  — F(ll); 

275  — F(II);  276-277  — F(II);  281-282  — A(42,85);  288  — F(VIII); 
291-293  — F(III);  324-326  — A(65),  F(IV);  327-328  — A(68);  329- 
330  — A(74,66);  331  — D(49);  335-338  — A(74);  344-345  — B(24); 

366  — F(IX);  272  — F(IV);  391-393  — 0(6). 

Georgies  IVi  6-7  — 1(76);  67-87  — 0(46);  80  — F(VIII); 

87  — F(VII);  125-146  — l(66);  170-175  — A(47),  F(VIII);  333-344  - 
A(87),  0 ■'(30);  345  — A(89);  352  — A(30);  371  — A(81);  425-428  - 

A(62),  0(2),  F(IV);  429-430  — F(l);  430-431  — A(56,70);  437-442  — 
F(I);  457-461  — 0(25),  F(I);  463-465  — A(75);  464-470  — 0(25,50); 


132. 


471-474  — C(27);  481  — C(27);  485-509  --  C(28);  499-500  — F(VIII); 
506-510  — A(75),  F(I);  511-515  — 0(49,53),  F(ll);  522-527  — F(IX)j 
559-566  — C(4),  D(2,4). 

Aeneid  I:  1 — 0(22);  5 —1(47,55);  23-24  — F(l);  29-31  — 
F(I);  34-35  — F(IX);  41  — F(l);  52-54  — F(I);  65-66  — F(I);  84-86 
A(88),  0(55,83);  87  — A(51,88),  0(55);  89  — 0(55);  90  — A(49,88), 
0(55),  F(IX);  91-92  — a(S8);  94-98  — F(IX);  104-105  — A(88,5l), 
0(55);  107  - - 0(37);  118-119  — A(88);  123  — 0(55);  124  — A(S8); 
125-126  — F(  I);  126-127  — F(I);  123  — F(  I);  142-147  — A(S8), 
F(I);  148-153  — F(TIII);  154-156  — A(88);  174-176  — 0(64);  216  — 
0(24);  286-288  — A(14),  F(IX);  291-296  — B(23) , 0(8) ; 297  — F(I); 
300  — A(76);  327-330  — F(IX);  415  — F(I);  455  ff.7'F(l);  480-481  - 
0(48);  498-500  — F(VIII);  622  — F(I);  648  — F(l);  680  — F(l); 
723-724  — 0(24);  740-741  — 0(24) . 

Aeneid  II:  7 — F(l);  171  — F(l);  226  — F(l);  246-247  — 

F(I);  270  ff.  — F(I);  305-307  — F(VIII);  341  — F(l);  355-357  (VIII 
367-368  — F(VIII);  386  — F(I);  407  — F(I);  416-419  — 0(37);  471- 
474  — A(77),  F(VII);  535-538  — 0(7),  A(46);  682-684  — F(V);  692- 
693  — A(13),  F(V);  775  ff.  — F(l);  792-794  — F(IX) . 

Aeneid  III:  16ff.  — 1(47);  56-57  — F(VIII);  111-113  — 
F(I);  140  ff.  — 1(47);  147  — 0(23),  F(IV);  225-228  — F(I);  286- 


287  — F(I);  293  ff.  — F(I);  331  — F(I);  444-446  — F(l);  579  — 


A(82);  590  — 0(56);  593-594  — 0(56);  599-601  — 0(61);  605-608  — 
0(61);  617-619  — 0(60);  622-625  — 0(58);  630  — 0(57);  657-658  — 
0(58);  659  — 0(62);  694-696  — A(81),  F(I) . 

Aeneid  IVi  2 — A(91);  3-5  — A(92);  13  — F(VIII);  55  — 
A(94);  64-65  — A(96);  66-67  — A(91);  68-69  — A(95);  72  — A(95); 


\L  k 


133 


77  — F(IV);  80-83  — a(93),  F(II),  F(IV);  93-95  — F(10);  161  — 

. C(42) 

A(88);  166-167  - F(IX);  173-190  — F(I)^^;  178-181  — A(41); 

188  — F(I);  222-223  — B(2);  265-276  — F(IX) ; 238  — F(I)*,  238- 

257  — B(5);  242-244  — F(I);  243-257  — A(76),  B(19) , F(l);,F(IX); 

181-183  — F(2.);  /86  — F(I);  296  — F(II);  305  — F(ll);  309-310  -• 
C(l);  327-330  — F(l3);  365-367  — C(5,  16),  F(II,13);  373-374  — 

1(75),  F(9)j  376-378  — F(11);  379  — C(5);  384-366  — F(8);  388  — 

F(12);  391-392  — F(l2);  402-407  — F(IX);  412-413  — A(97);  433  — 
F(13);  441-444  — C(37);  469-473  — F(l) , A(79)j  483  — 0(l5); 

507-  500  ~ B(28);  512  — B(28) ; 513  — a(42)j  515-516  — a(8);  516  -• 
B(28);  522  - A(26),  F(IY);  522-524  — C(23);  569-570  — F(ll)i  585  -■ 
F(IX);  590  — F(II);  602  - - F(8);  666  - C(42);  666  — F(l);  684- 
685  — a(90),  C(51),  F(I). 

Aeneid  V:  2,  8-9  — F(IX);  15  — A(50);  46-47  — F(VII); 

72  — F(I);  88-89  — D(49),  F(VIII);  350  ff.  — F(I);  377  — C(68); 
421-423  — C(67);  424-425  — C(69);  428-429  — C(70)j  433-436  — 
C(74)j  437  — C(72);  439-442  — C(7l);  443-446  — C(78);  447-449  — 
0(79),  F(VIII);  450-451  — C(77);  454-457  — C(76);  458-459  — C(74) 
F(VIII);  527-528  — F(VIII);  545  ff.  — 1(47,77);  580-595  — F(IX)*, 
693-694  — A(88);  696  — A(48,88);  694-5—  A(49);  807-808  — F(I); 

824  — F(I);  835-836  — F(IV);  854-855  — F(IV). 

Aeneid  VI:  1 — a(35);  2 — F(l);  14-17  — F(I);  20  ff.  — 

F(I);  30-31  — F(I);  45-51  — A(20),  F(IX);  77-80  — A(29)  , F(IX); 
126-127  — F(VIII);  243  ff.  — F(l);  255-259  — A(29),  F(IX);  268  ff, 
F(I);  305  — 0(33),  F(I);  313-314  — C(35) , F(l);  315-316  — B(27); 
324  — B(19);  392  — C(26);  395-396  — C(26);  400-401  — 0(26);  439— 
B(14),  F(I);  440  ff.  — F(l);  448-449  — F(l);  472-473  — A(98); 


134. 


494-497  — F(I);  566  — F(l);  571  ff.  — F(I);  585-586  — F(I); 
596-597  — F(I);  638-641  — A(85);  642-647  — C(35,54),  F(I);  651- 
655  — A (85),  0(35);  667-668  — C(35);  669  — F(VIII);  700-701  ~ 
F(IX);  702  — F(VIII);  703ff.  — F(I);  781-782  — A(82 

0(85);  784-787  — F(I);  792-794  — F(VI);  792-805  — 0(8);  798  — 
B(24),  801-805  — F(IX);  851-853  — B(23),  0(8,9,84). 

Aeneid  VII:  224  ~ F(IX);  329  — F(I);  346  -351  — F(l); 
483-492  — D(49);  512-515  — F(l);  F(V);  519-521  — F(l);  528-530  — 
F(VIII);  586-590  — 0(73) , 0(3S)  , F(VIII);  699-700  — F(VIII); 

764-773  — F(I);  803  — F(I). 

Aeneid  VIII:  22-25  — F(VIII);  26-27  — A(26),  F(IV); 

30-66  — B(29);  31-35  — B(21),  F(I);  66-67  — B(21);  159  — B(24); 
201-203  — F(I);  209-211  — F(lX);  240  - A(44);  288-300  — 0(l9), 
F(I);  324  — F(VI);  387  ff.  — A(53);  391  — B(6),  0(55);  392  — 
a(52);  424  — A(47);  426-428  — a(47);  429-432,  445-446  — A(47); 

626  ff.  - F(I);  655-656  - F(I);  660  — A(78);  680  — B(10);  700-703 
F(I);  705-706  - - B(24). 

Aeneid  IX:  79  — F(IX);  339-341  — F(VIII);  417  — A(33); 
435-437  — B(25),  0(20),  F(5),  F(VIII);  446-449  — F(IX) ; 460  ~ 
F(IX);  477-480  — 0(48);  563-564  — A(99);  641  — F(VIII),  757-759— 
F(IX);  792-793  — 0(66) . 

Aeneid  X:  134-135  — F(VIII);  91  — F(IX);  248  — F(VIII) 

324  — F(IX);  356-359  — F(IV,VIII);  405-409  — F(VIII);  641  — 
F(VIII);  693-696  — 0(72),  F(VIII);  706-712  — 0(66);  723-726  — 
0(63,65);  791  - 793  — F(IX); 

Aeneid  XI:  5-7  — F(l);  162-163  — 0(51);  432  — F(l); 

492-497  — F(VIII);  611  — F(VIII);  624-628  — F(VIII);  718  — F(VIlll) 


135. 

751  — A(77) . 

Aeneld  XII  1 365-367  — B(l9);  412  — F(l);  414-415  ~ 

F(IX);  523-525  — F(VIII);  684  - B(8);  715-722  — C(75);  766-769  — 
C(81);  792  — B(9);  879-881  — F(II) . 

Ciris:  120-125,  387-388  — F(I);  479-480  — F(VIII) . 

The  following  are  the  more  important  passages  of  the  Aeneid 
imitated  in  the  Franoiade:  I,  8-11,  25-28,  34-36,  37-50,  64-75,  81- 
93,  93-101,  102-123,  297-304,  411-414,  522-557,  562-578,  633-636, 
657-660,  697-708,  740-746;  II,  practically  all  of  the  incidents  of 
the  fall  of  Troy;  III,  62-68,  293,  294^297,  300-305,  369-462,  482- 
491;  IV,  9-29,  56-65,  80-83,  173-188,  223-255,  265-276,  522-528, 
529-532;  V,  8-9,  250-257,  430-431,  435-436,  447-449,  453- 

455,  687-692,  715-718,  729-730,  857-860;  VI,  46-51,  77-80,  133-148, 
149-155,  162-182,  237-242,  257-263,  365-366,  724-751,  756-886;  VII, 
141,  341-355,  385-405,  586-600;  VIII,  31-35,  157-159;  IX,  646-652; 

X,  1-95,  829-830;  XI,  5-11,  794-795;  XII,  715-722,  725-727,  764-765. 

The  following  passages  are  either  mentioned  or  quoted  in 
the  prose  works  of  Ronsard:  Georgies  I.  1-2,  43-44,  329-330,  331- 

333;  Georgies  II.  143;  Aeneid  I.  2-3,  8,  393;  II,  682-683;  III,  211; 
IV,  206-218,  6-7,  198,  522-525;  V,  46-48,  249-257,  257,  261;  VI,  166, 
VII,  81-82,  275-283,  762-764-;  623-817;  VIII,  181,  219-267,  387-453, 
409,  460;  IX,  481-497,  545-547,  595-620,  646-648;  X,  15-95,  396,600, 
782,  783,  846-856;  XI,  768-777;  XII,  360. 

It  is,  therefore,  clear  that  there  are  not  many  Viriglian 
passages  which  do  not  have  a counterpart  or  mention  in  Ronsard.  The 
passages  not  used  are  principally  of  such  a character  that  they 
would  not  especially  interest  a poet  with  predominant  lyrical  ten- 


136. 


dencies.  Many  of  the  passages  used  appear  several  times,  and  if 
the  frequency  of  their  appearance  furnishes  an  indication  of  their 
popularity,  the  fourth  and  fifth  Eclogue^,  the  eulogy  of  Italy  in 
the  second  Georgic . and  the  flight  of  Mercury  to  earth  and  the 
Dido  episode  of  the  fourth  book  of  the  Aeneid  would  seem  to  be  among 
Ronsard's  favorite  Virgilian  passages.  His  desire  for  variations 
naturally  causes  some  imitations  of  the  same  passage  to  be  much 
closer  than  others,  but  the  period  of  his  life  at  which  ttie  poems 
were  written  does  not  seem  to  have  been  very  influential.  For 
proof,  we  find  very  close  imitations  both  at  the  beginning  and  the 
close  of  his  career,  as  in  the  Hvmne  de  France  of  1549,  the  Hymne 
de  Pollux  of  1556,  the  Orrhee  of  1563,  the  Paroles  of  Calypson  of 
1569,  the  Franciade  of  1572,  and  the  Cartel  pour  le  combat  a cheval 
of  1584. 

Often  there  is  a direct  imitation  of  a passage  of  ten  or 
twelve  lines  in  a poem  of  several  hundred  lines,  as  in  the  Ode  a 
Monsieur  le  Dauphin  of  1555,  while  the  rest  of  the  poem  has  but 
slight  connection  with  Virgil.  At  times  passages  from  widely 
separated  parts  of  Virgil  are  combined  in  the  same  poem.  This  pro- 
cess of  intermingling  sources  is  one  of  Ronsard's  favorite  schemes 
and  gives  him  a touch  of  originality  in  treatment  if  not  in  subject 
matter  itself.  The  process  is  net,  however,  new  with  him,  for  he 
found  it  in  Virgil  and  in  other  ancient  poets  who  had  ideas  concern- 
ing imitation  like  the  Pleiade's. 

Ronsard  likes  also  to  absorb  the  characters  of  his  poet 
predecessors,  and  of  those  from  Virgil,  Dido  and  Aeneas  especially 
pleased  his  fancy.  Dido  is  used  in  the  characterization  of  Aurore, 


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137. 


Calypson,  Clyniene,  Hyante,  and  others;  Aeneas  and  Francus  are 
practically  synonymous  except  that  Francus  is  more  cruel  and  heart- 
less. But  as  Ronsard  is  not  very  skilful  in  character  portrayal, 
his  unpleasing  characterization  of  Francus  is  to  be  expected.  Most 
of  the  minor  characters  of  the  Franciade  are  flat  imitations  of 
those  of  the  Aeneid.  since  Ronsard  lacked  the  genius  tc  create  new 
characters. 

In  the  imitation  of  incidents  such  as  the  tragic  exp^erience  ; 
of  Orpheus  and  Eurydice  in  the  Orph^e  and  the  caestus  fiJ^t  in  the 
Hvmne  de  Pollux,  he  is  more  successful  in  arousing  interest  even 
though  there  is  nothing  new  in  his  pictorialization . In  more  lyri- 
cal borrowings  such  as  in  the  Hvmne  de  France  and  in  various  odes 
on  the  seasons  he  sounds  still  more  natural.  It  is,  therefore,  not 
the  borrowing  itself,  but  the  kind  of  borrowing  which  spoils  or 
strengthens  Ronsard' s poems.  When  he  is  able  to  imitate  and  be 

Smootn/y 

lyrical  his  poetry  runs  much  more^and  with  more  genuine  feeling  than 
when  he  must  imitate  and  write  epic  poetry. 

But  even  in  his  lyric  poetry  Ronsard  loves  pompous  figures, 
especially  similes,  and  takes  many  of  them  from  Virgil.  He  and  his 
school  considered  it  an  essential  quality  of  a good  poet  to  be  able 
to  put  a famous  simile  of  Virgil  or  Homer  into  euphemistic  French 
verse.  Critics  like  Pasquier  and  Estienne  were  eager  to  contrast 
the  old  and  new  comparisons  and  were  much  too  prone  to  favor  the 
French  version.  All  the  other  figiores  known  to  Virgil,  Homer,  and 
their  fellow  countrymen  were  also  imitated,  and  some  which  are 
associated  especially  with  Virgil  are  used  by  Ronsard.  Of  these 
latter,  paraphrases  such  as  Aurora's  departure  from  the  couch  of 


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Tithonus  for  morn  and  proverbial  expressions  such  as  "Easy  is  the 
descent  to  hell”  serve  as  examples. 

Some  of  Ronsard’s  borrov/ing  from  Virgil  was  in  all  prob- 
ability unconscious.  Ha  had  the  Latin  poet  so  thoroughly  in  mind 
that  the  imitation  must  have  been  almost  instinctive.  He  certainly 
did  not  have  to  keep  a copy  of  Virgil  open  before  him  7/hile  he  was 
OTiting,  for  Virgil  was  more  or  less  a part  of  him.  He  had,  in 
short,  absorbed  so  many  of  the  characters,  incidents,  ideas,  ex- 
pressions, and  other  stylistic  peculiarities  of  Tirgil  that  there 
is  little  wonder  at  his  naming  his  favorite  Latin  poet  ”la  premiere 
oapitaine  des  Muses." 


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139. 


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144. 


VITA 


I was  born  in  Centralia,  Illinois,  September  11,  1898,  a 
son  of  Henry  E.  and  Bortha  I^athilda  (Grosch)  Storer.  I received 
my  preparatory  education  in  the  Central ia  grade  schools  and  in  the 
Central ia  Township  High  School,  graduating  in  1915.  In  September, 
1915,  I entered  the  University  of  Illinois,  from  which  I received 
the  degrees  of  Bachelor  of  Arts  in  1919  and  Master  of  Arts  in  1920 
(Thesis:  The  Sour  ce s of  Victor  Hugo  * a Drama) . I have  continued 

my  graduate  study  in  this  university  as  a Fellow  in  Romance  Languages 
during  the  years  1920-1921  and  1921-1922,  to  the  present  time. 


